Around Art Basel Paris, the “Off” fairs also map the market

The phenomenon of fairs held parallel to major commercial events is relatively recent. In France, it took shape about twenty years ago with the Fiac (International Contemporary Art Fair). These satellite events owe their existence to the attractiveness of the main fair: many galleries seek to capture the attention of international collectors passing through Paris. In practice, however, they must contend with the limited schedules of Art Basel Paris VIP, who are also drawn to numerous museum openings across the city. To avoid being seen as “Salons des refusés”, the organizers of these fairs strive to assert their own identity. They specialize by region, period, or theme, with varying degrees of success, which allows them to claim a complementary role to Art Basel Paris while maintaining visibility among targeted audiences. Some fairs rely on a strong geographical identity, coupled with curatorial programs including talks, panel discussions, or awards, to showcase art scenes often marginalized in the Western circuit. Such is the case with Menart Fair (see the box) and Asia Now, founded in 2005 and first hosted at Espace Cardin before moving to the Monnaie de Paris. Although the Monnaie offers larger volumes, circulation remains awkward and organization uneven. Of the roughly 60 galleries participating in 2025, only 24 come from Southeast Asia – far fewer than the French galleries represented. Notably, heavyweight players such as Perrotin and Nathalie Obadia, once regular participants, are no longer involved, signaling the fair’s ongoing struggle to consolidate its position. Asia Now nevertheless remains an interesting platform to gauge the diversity of Asian contemporary creation – the good and the less good alike. Meanwhile, Akaa, now in its 10th edition, has established itself at the Carreau du Temple as the key event for the contemporary African scene (in the broad sense). The 42 participating galleries, including 19 from France, reflects both the prominence of the diaspora in Paris and the structural weakness of the African gallery network. Galerie Vallois, a pioneer in this field, is presenting five artists representative of their different respective cultures. Yet the absence of leading players such as Magnin-A, Cécile Fakhoury, and Mariane Ibrahim – all present at Art Basel Paris – underscores the limits of the exercise. Alongside these geographically oriented events, other fairs occupy temporal niches. Moderne Art Fair covers the postwar secondary market. After several relocations, it is now held under two tents on place de la Concorde, more than a kilometer from the Grand Palais. This distance complicates its coordination with Art Basel Paris: collectors, already in high demand, may be reluctant to add another fifteen-minute walk to their schedules. The roughly fifty participating galleries, mostly French, reveal a solid local base but limited international appeal, with the risk of appearing somewhat dated. 66 galleries take part in Paris Internationale At the opposite end of the spectrum, Paris Internationale, held this year in a Haussmann-style building near the Champs-Élysées roundabout, continues to gain momentum. In 2025, it brings together 66 galleries – 85% of them international – and positions itself as the mirror image of Moderne Art Fair, favoring experimental, recent, and often daring practices. The uneven quality of the works on view does not detract from its role as a laboratory for curators and collectors in search of discovery – a role also played by Offscreen (see the box). In addition to geographical and chronological logic, thematic niches are emerging, such as the inaugural edition of the Ceramic Art Fair (see the box). Outsider Paris, held at the Bastille Design Center (11th arr.) and now in its third edition, positions itself as the heir to the New York Outsider Art Fair, which discontinued its Paris edition in 2022. With 16 galleries, including six from France, it maintains a distinctive positioning, even if its scope remains limited. Meanwhile, Design Miami/Paris, also in its third edition and held at hôtel de Maisons, brings together 26 exhibitors around an expanded notion of design, featuring Parisian galleries such as Downtown, Kreo, and Patrick Seguin. The fair confirms the lasting establishment of design as an autonomous market segment. Private Choice, on the other hand, offers a different experience in a private mansion in the 16th arrondissement: artworks are displayed in a domestic setting and visits are by appointment only. Lastly, the International Cultural Heritage Fair, organized by Ateliers d’Art de France, has accompanied the Art Basel Paris week since last year. It is not an art market fair but a major event for craftspeople, restorers, and heritage companies, with nearly 300 exhibitors in Carrousel du Louvre.