Art

Expo Chicago 2025: Institutional Buys and Rising Stars Shine

Expo Chicago 2025 blends emerging talent, institutional acquisitions, and global voices, highlighting resilience and reinvention in a shifting art market.

Por: Angela Leon Cervera
Expo Chicago
Expo Chicago 2025. Photo: @expochicago

Expo Chicago 2025 opened with optimism and pragmatism, welcoming VIPs at noon on Thursday at Navy Pier. Despite a slightly slower start, attendance built steadily throughout the day. Tony Karman, the fair’s president and director, remained upbeat, citing enthusiastic collector engagement and “great optimism” for the future.

 

Facing global art sales declines (down 12% in 2024) and rising fair costs, Expo adapted by welcoming new voices—including a major partnership with the Galleries Association of Korea. While blue-chip gallery participation dipped, the mix allowed emerging talents to command more attention.

Expo Chicago
Expo Chicago 2025. Photo: @expochicago

Which Artists and Galleries Made a Strong Impression?

  • Charlie James Gallery (Los Angeles) sold three paintings by Manuel López to institutions, priced between $6,500 and $22,000.

  • Pippy Houldsworth Gallery (London) saw success with Wangari Mathenge, securing two institutional holds and two collector sales at $90,000–$100,000.

  • Through the Northern Trust Purchase Prize, three museums acquired works by artists like Wallace Pato, Soo Shin, Lilian Martinez, and Winnie Truong.

Institutional buying reaffirmed Expo’s reputation as a curator-centric fair where acquisitions for public collections are prioritized.

Expo Chicago
Expo Chicago 2025. Photo: @expochicago
Expo Chicago
Expo Chicago 2025. Photo: @expochicago

What Were the Best Booths at Expo Chicago 2025?

Buffalo’s Rivalry Projects (Exposure Section) presented a compelling two-artist dialogue:

 

  • Ryan Patrick Krueger recontextualized queer imagery via collages drawn from personal archives and mail art.

  • Jen Everett combined family photographs with found objects and sculptures of “legacy technologies,” memorializing both sound and silence.

Engage Projects (Profile Section) spotlighted Edra Soto, whose Puerto Rican motifs met pop culture with Bad Bunny slipcovers and spray-painted box fans. Her standout sculpture, the place of dwelling (2025), merged ceramic vessels with architectural elements—a deeply personal homage to her familial history.

Walter Maciel Gallery staged a powerful installation by Nathan Vincent: Locker Room (2011), a crocheted recreation of hyper-masculine spaces, newly contextualized with a timeline tracing LGBTQ+ rights progress and setbacks up to 2025.

 

Galerie Quynh (Ho Chi Minh City) showcased Vy Trịnh, whose sculptures incorporate “Vietnamese objects” like Honda Dream motorcycle parts and standing fans, exploring public/private economies.

 

Verve (São Paulo) presented Nádia Taquary and Lita Cerqueira:

 

  • Cerqueira’s photographs of everyday Salvador life captured Black joy and resilience.

  • Taquary’s Orikis series of mixed-media sculptures paid homage to Yoruba spiritual traditions.

Galerie Robertson Arès (Copenhagen) featured Kristine Mandsberg, whose colorful nylon-flocked sculptures recalled bodily folds and sensual textures.

 

Cal Lane exhibited intricate plasma-cut steel works that blended femininity with industrial materials, including lacy metal panties and reimagined ammunition boxes adorned with birds and babies.

FAQ – Expo Chicago 2025

Expo Chicago
Expo Chicago 2025. Photo: @expochicago

Amidst a cautious global market, Expo Chicago 2025 demonstrated that authentic storytelling, institutional support, and curatorial engagement remain powerful drivers of success. This year’s edition carved out a vital space for rising stars and underscored the evolving role of fairs in a rapidly shifting art landscape.

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