The Scene

The fair has 64 exhibitors with a space in France, and the press dossier names the Paris galleries by sector. Beyond the Grand Palais, the week brings gallery shows in rented rooms, a perfumer’s exhibition and the museums’ autumn programs. This page gathers what is documented and says what is not.

The dossier lists these Paris-based galleries among the Galeries highlights: Templon, Chantal Crousel, Galerie Lelong, Perrotin, Almine Rech, Art : Concept, Mennour, Applicat-Prazan, Galerie Nathalie Obadia, Crèvecœur, mor charpentier, galerie frank elbaz, Galerie Jocelyn Wolff and Galerie Christophe Gaillard. Petrine and The Pill move up from Emergence to the main sector, and Isabella Ritter is a new Paris name in the main sector.

Five Paris galleries are in Premise: Eric Mouchet, Pavec, Zlotowski and Durazzo, plus Danysz, which has Paris and Shanghai spaces. Two are in Emergence: Lo Brutto Stahl, with Clémentine Adou, and Exo Exo, with Yann Stéphane Bisso.

Several international names have Paris galleries too. The dossier lists Gagosian, Hauser & Wirth, David Zwirner, White Cube, Thaddaeus Ropac, Marian Goodman, Esther Schipper, Skarstedt, Massimodecarlo and Galleria Continua. The announcement counts all 64 French-based exhibitors together.

Ocula’s program report picks out several booths. These are its observations, not Biennale’s.

• Larkin Erdmann (Zurich, a first-timer) brings On Kawara’s Nov 7, 1977, which Ocula says is back on the market for the first time since 1978, and a Marcel Duchamp, LHOOQ. Ocula dates the Duchamp 1964, though the original is usually dated 1919; the report does not say it is a later edition. Date to check
• Mendes Wood DM shows Julien Creuzet, who was born in Paris, ahead of a 2027 show at the Centre Pompidou-Metz.
• Galerie Isabella Bortolozzi shows photographs by the writer Annie Ernaux.
• Amanda Wilkinson (London, a first-timer) shows Derek Jarman’s tar paintings.
• Olney Gleason (New York, a first-timer) pairs Robert Indiana and Ellsworth Kelly and the influence between them in Lower Manhattan.
• Eric Mouchet (Paris) shows Robert Michel from the Weimar Dada period, with a new scholarly catalogue.
• White Cube shows Tracey Emin, Georg Baselitz and Marguerite Humeau; Esther Schipper, Pierre Huyghe and Anri Sala; Hauser & Wirth, Louise Bourgeois and Jenny Holzer, per the dossier.
• Galerie Eva Presenhuber (booth B37) shows silence, a booth curated by Ugo Rondinone with about 40 artists, among them Fischli / Weiss, Karen Kilimnik, Tschabalala Self, Dieter Roth and Franz West, per the gallery’s fair page. Rondinone’s own red black nun (2020) and Sam Falls’s Sun (2026) are among the works shown there.
• Laveronica (a first-timer) shows Adelita Husni-Bey, Jonas Staal and Daniela Ortiz.

The press had named only these gallery projects by October 10. We will add confirmed openings here as the galleries announce them.

Guerlain. Haute Living lists an exhibition of about 30 international artists on the transition from day to night at Guerlain’s maison, 68 Avenue des Champs-Élysées, October 21 to November 15, and titles it L’Heure des Possibles. The fair’s dossier lists Guerlain as a host partner with an exhibition titled L’Heure Bleue. The two may be the same project under two names. Title differs between sources

Fondation Louis Vuitton. Gustave Fayet, Collector–Designer runs from October 9 to March 8, 2027 in the Bois de Boulogne; Haute Living advises booking directly with the Fondation.

UBS Salon. The Grand Palais salon is open to visitors Friday to Sunday and shows Earthly Paradise: Nature Reimagined, works from the UBS Art Collection.

Ray-Ban. The dossier lists Ray-Ban as a host partner with a project called “Impossible Frames”. We found no description of it.

The Asia Now fair at the Monnaie de Paris and the Paris Internationale rooms on the Quai de Valmy are described on The Fairs; the museum table is on What to See.

In a September 2024 opinion piece, Monocle’s associate editor for culture, Sophie Monaghan-Coombs, wrote that the new fair arrived with “a snappy new name and a lavish venue upgrade”, and questioned whether it would differ much from the Basel original: it was “hard to put a Parisian spin on navigating your way to booth D24 or J11.” Her conclusion was that smaller fairs and city-specific events make the stronger impression and offer real discovery of lesser-known artists. The piece is two years old; the fair has since added public programs and satellite events, and readers can judge for themselves how far it has answered her.