Hall 2.1, Booth R2
Messe Basel, Switzerland

VIP Days: 15 - 17 June
Public Days: 18 - 21 June

Sean Kelly returns to Art Basel 2026 in Hall 2.1, Booth R2 with a dynamic presentation that brings together artists from the gallery’s internationally renowned program.

The booth debuts a new mosaic by Shahzia Sikander, which references one of her early watercolors in which female figures radiate from an orb. Coinciding with Marina  Abramović’s exhibition Transforming Energy, on view at Gallerie dell'Accademia in  Venice, through October 18, 2026, a new luminous self-portrait explores the relationship  between the body and spiritual energy. The iridescent surface of Mariko Mori’s sculpture Kamitate Stone I, reflects on the inner light that binds all beings to the natural  world, visualized in her signature futuristic vision. A new painting by Kehinde Wiley positions his subject within the longstanding art historical tradition of classical portraiture,  serving as a compelling commentary on visibility, power, and the politics of  representation in contemporary society. 

Julian Charrière’s sculpture Imperfect Lovers features a mechanical clock, in which time has been halted by encrusted minerals, embodying the interplay between human  attempts to measure time and geological processes. Charrière’s major solo exhibition,  Spiral Economy, is on view at Museo Correr in Venice, Italy, through November 22, 2026. In conjunction with Art Basel, Charrière with musician and composer Thomas  Bangalter and DJ Rampa, will present Warehouse Artefacts at art.klub Messe Basel, an  immersive audio spatial installation transforming a deconstructed dancefloor into a site  of radical community building, on view Saturday, June 20, 2026, from 10am to 5pm,  followed by a DJ set activation from 6pm to 11pm. 

Ana González’s photographic works of the Amazon River are partially unraveled  presenting a powerful meditation on the fragile and shrinking ecosystem. Laurent  Grasso’s painting Future Herbarium visualizes a mutated flower, suggesting an evolved  flora. Hugo McCloud’s single use plastic painting renders a vividly colored umbrella in  the Balearic Islands as a poignant reflection on labor and leisure. New paintings by Sam  Moyer merge organic and constructed materials, occupying the space between painting  and sculpture, revealing subtle nuances of color, tone, and light. Brian Rochefort’s vibrant sculptures draw inspiration from his extensive travels to secluded landscapes  reflecting his innovative experimentation with glazing techniques. An important abstract  painting by Janaina Tschäpe explores the intersection between landscape and memory through fluid brushstrokes and delicate mark making. Wu Chi-Tsung is represented on  our booth with a new Cyano-Collage diptych, connecting traditional aesthetics of Chinese shan shui paintings with experimental photography processes. 

Following the success of his recent solo exhibition, The Simple Act of Positioning, at  Sean Kelly, New York, Jose Dávila’s new totemic work condenses sculpture to its most  fundamental action, that of placing one object in relation to another. Rebecca Horn’s sculpture features a motorized stylus that delicately pierces a glass vitrine, referencing  her important early body-extensions armatures. Callum Innes’s vibrant Exposed  Painting reveals the nuanced shifts of monochromatic color as each painted layer is  removed, both making and unmaking the painting. 

Marcel Duchamp originally sold his Monte Carlo Bonds as shares in his “company” to  investors, who would receive dividends to be won by the artist at the roulette table.  Ultimately failing as a financial venture, the Monte Carlo Bond succeeded as a radical  gesture, collapsing the distinctions between artwork and contract, collector and investor, aesthetic value and economic exchange. Drawing inspiration from musical notation and  text, Idris Khan carefully layers gold leaf musical notes on prepared backgrounds,  expanding his exploration of repetition, color, and time. Joseph Kosuth investigates the  interplay between language and meaning through his Definition works, reflecting on the  nature of interpretation and the role of language in shaping our understanding of artistic  expression.  

Founded in 1991, Sean Kelly Gallery has established itself as a leading platform for  contemporary art, representing artists whose work challenges conventions and  advances critical cultural discourse. Through a rigorous exhibition program and  international engagement, the gallery is dedicated to fostering meaningful dialogue, supporting artistic innovation, and connecting diverse audiences with significant  contemporary artistic practices.