Paris Photo 2025 centers Latin American photography with “The Last Photo,” a landmark selection from Estrellita B. Brodsky’s collection at the Grand Palais, November 13–16, 2025.
Paris Photo returns to the Grand Palais from November 13 to 16, 2025. The fair reasserts its leadership in image-based art while opening fresh space for Latin American Photography in Europe’s spotlight.
This edition presents “The Last Photo,” a curated selection from Estrellita B. Brodsky’s collection. It is the first European presentation of this group, and it frames the medium as elastic, unstable, and alive.
Paris Photo is the world’s largest fair dedicated to photography and image-based art. Its venue and dates signal peak visibility for artists and collectors. The conversations, book awards, and curated paths shape taste and market attention.
Recent editions expanded participation and audiences. In 2024, coverage noted around 80,000 visitors and strong institutional presence, underscoring the fair’s reach. The 2025 return to the historic Grand Palais continues that momentum.
Dates and venue: November 13–16, 2025, Grand Palais.
Sector mix: galleries, talks, books, and digital initiatives.
Gender equity focus through Elles x Paris Photo since 2018.
Curated by Marie Perennès with José Esparza Chong Cuy and Raúl Martinez, “The Last Photo” gathers over 60 works spanning the 1940s to today. The thesis treats photography as a site of construction rather than a transparent mirror.
The title references Rosângela Rennó’s series “A Última Foto,” in which artists made one final image with vintage cameras that were then sealed. Each diptych pairs the print with the camera, marking a conceptual farewell to analog reproduction.
Scope: more than 60 works, first European showing of this selection.
Core idea: instability of the image in contemporary culture.
Anchoring work: Rennó’s diptychs sealing the lens after the last exposure.
The selection highlights multiple practices, from documentary to conceptual. It includes figures such as Paz Errázuriz, Leo Matiz, Vik Muniz, and others, positioning Latin American narratives within the fair’s central discourse.
Ana Mendieta’s performance documents remind us that photography can be an archive of an ephemeral act. Rennó’s camera-sealed diptychs underscore the end of one era and the birth of another. Together they point to image-as-process rather than image-as-proof.
Paz Errázuriz: social and identity-focused documentary practice.
Leo Matiz: a foundational photojournalist shaping regional visual memory.
Vik Muniz: refotography and material experiments that challenge perception.
Ana Mendieta: performance traces captured as photographic record.
By placing “The Last Photo” at the Grand Palais, Paris Photo 2025 strengthens the global conversation around Latin American Photography. The show’s curatorial stance turns the image into a living construct, resisting neutralization and inviting sharper, more contextual readings.
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