"Minimal" at Bourse de Commerce

• Bourse de Commerce – Pinault Collection
• Through January 19, 2026

Since its opening in 2021—when Tadao Ando transformed the former stock exchange into one of the most spectacular contemporary art museums in Europe—Pinault’s Bourse de Commerce has become an essential stop on any trip to Paris. This season, it presents a sweeping survey dedicated to Minimalism, tracing the movement’s global evolution and far-reaching influence. Bringing together an exceptional selection of works from the Pinault Collection alongside loans from major institutions, the exhibition (curated by Jessica Morgan, director of the Dia Art Foundation in New York) charts the diversity of Minimalism from the 1960s onward, when artists like Dan Flavin, Robert Ryman, On Kawara, Agnes Martin and François Morellet initiated a radical shift toward extreme reduction and essential objecthood. Stripping away authorship and ornamentation, they elevated the industrial object—mass-produced, standardized and aesthetically neutral—as a catalyst for chance, perception and spatial awareness. “With its precise expression and radicalism that eliminates superfluous detail, Minimal Art captures the heart of the matter,” François Pinault writes in the exhibition catalogue. “It was through Minimal Art that I realized the mind could be freed to venture beyond appearances. For the first time, I am revealing the most personal aspect of my art collection. This driving force has accompanied and inspired me for over fifty years.”

"Exposition générale"

• Fondation Cartier
• October 25, 2025 - August 23, 2026

One of the most anticipated moments of Art Basel Paris is the unveiling of Fondation Cartier’s new venue at Place du Palais-Royal. Designed by star architect Jean Nouvel, the space is conceived as a dynamic architectural organism—“the future of cultural infrastructure,” as Béatrice Grenier, director of curatorial affairs at Fondation Cartier pour l’art contemporain, told Observer ahead of the opening. A fluid environment that fosters a deeply multimedia and transdisciplinary approach, the building dissolves boundaries between practices and fields of thought. The inaugural exhibition, “Exposition générale,” curated by Grenier, will put this vision to the test. Featuring nearly 600 works by more than 100 artists and creatives from around the world—including Claudia Andujar, James Turrell, Sarah Sze, Olga de Amaral, Junya Ishigami, Solange Pessoa, David Lynch, Annette Messager, Cai Guo-Qiang, Diller Scofidio + Renfro and Chéri—it traces forty years of art through the Fondation Cartier’s collection. The combination of Nouvel’s architecture and Formafantasma’s exhibition design creates an open, continuous experience of 40 years of art history across narratives, cultural backgrounds and media.

"Gerhard Richter"

• Fondation Louis Vuitton
• Through March 2, 2026

Timed with Art Basel Paris, Fondation Louis Vuitton is unveiling an expansive career survey—unmatched in both scale and chronological scope—dedicated to the multifaceted practice of German painter Gerhard Richter. Featuring 275 works spanning 1962-2024, the exhibition offers an unprecedented view of more than six decades of relentless experimentation, during which Richter has continually questioned both the potential and the limits of the image to capture, translate and document reality. At the core of his work lies painting itself—its language, its materiality and its paradoxical capacity to represent a reality that is inherently fleeting and unstable in perception, meaning and essence. Every image in Richter’s practice is mediated—filtered through a photograph, a drawing or another intermediary form—allowing him to test the infinite mutability of meaning. From his early photo-based paintings to his late abstractions, Richter never ceased exploring how image-making and meaning-making converge and collide through the tension between sensory perception, cognitive interpretation and imagination.

"ECHO DELAY REVERB: American Art, Francophone Thought"

• Palais de Tokyo
• Through February 15, 2026

In this show, Palais de Tokyo traces the deep intellectual and artistic connections between France and the United States through the lenses of philosophy, visual studies and linguistics. Curated by art historian Naomi Beckwith—deputy director and Jennifer and David Stockman chief curator at the Solomon R. Guggenheim Museum in New York and artistic director of the next edition of documenta—“ECHO DELAY REVERB: American Art, Francophone Thought” is a thoughtful, at times deeply intellectual yet conceptually refreshing survey of how francophone theory has shaped American postwar and contemporary art. Through the work of some 60 artists, the exhibition explores the transatlantic circulation of forms and ideas, revealing how francophone philosophers, activists and poets—from Simone de Beauvoir, Michel Foucault and Jacques Derrida to Frantz Fanon, Jean Genet, Aimé Césaire, Jacques Lacan, Monique Wittig, Pierre Bourdieu and Edouard Glissant—profoundly transformed the ways we interpret both modernity and the contemporary world.

Mickalene Thomas, "je t'adore deux"

• Galerie Nathalie Obadia
• Through January 3, 2026

Tomasz Kowalski, "At the Excavation Site"

• Crèvecœur
• Through November 11, 2026

Known as one of Paris’s most astute talent-spotting galleries—most recently behind the fast-rising Yu Nishimura—Crèvecœur presents the first solo exhibition in the city dedicated to Polish artist Tomasz Kowalski. Unearthing the subtle sensations that accompany memories as they fade at the back of the mind while allowing imagination to complete what is lost, Kowalski’s paintings become exercises in recollection and reconnection with synesthetic moments, crystallizing them into image. Drawing on the intuitive and psychologically charged language of Polish postwar surrealism, his dreamlike atmospheres are as uncannily seductive as they are ominously revealing, imbued with the density of personal and archetypal presences emerging from the subconscious. Multiple sensations and temporalities coexist within a single frame, overlapping and blending—often dialectically—just as they do in memory. Reflection and projection become for Kowalski recurring strategies in a visual lexicon that seeks to mirror the complex psychological dynamics through which an image transforms into meaning, both collectively and intimately. What appears cinematic at first glance gradually reveals a psychological and existential depth that mirrors the way our subconscious processes the world—interweaving reality through an intricate interplay of sensory inputs, fleeting emotions and the cognitive elaboration of the ever-shifting “scene of the world” unfolding around us.

"John Singer Sargent Éblouir Paris"

• Musée d'Orsay
• Through January 25, 2026

American painter John Singer Sargent is receiving much-deserved European recognition with a major exhibition at one of Paris’s leading institutions, the Musée d’Orsay. Featuring more than 90 artworks, including the Metropolitan Museum of Art’s celebrated Portrait of Madame X (1884), the exhibition showcases his exceptional ability to capture the opulence and elegance of the Gilded Age as one of its most gifted portraitists. Born in Italy to American parents and educated at home, Sargent spent most of his career in London and much of his life traveling. Yet Paris played a pivotal role in his artistic formation—it was there that he absorbed the spirit of modernity he would later translate so masterfully into his work. Sargent’s style sits at the intersection of academic realism and impressionistic modernity, blending technical mastery of light and surface with psychological nuance and the painterly bravura of his voluptuous, virtuosic brushwork. His refined compositions embody a modern naturalism that occasionally gives way to looser, more experimental works that seem to foreshadow the daring of the avant-garde.

"George Condo"

• Musée d’Art Moderne de Paris
• Through February 8, 2026

All styles and eras in the history of painting—as well as the very notion of aesthetic beauty—collide and collapse within George Condo’s work. For decades, the artist has engaged in a relentless confrontation with the history of painting and its inherited canons. This fall, Condo is being honored with a major career retrospective at the heart of Europe’s art capital. Known for his overtly cartoonish yet three-dimensional and strikingly realistic figures that riff freely on art-historical references, Condo’s style has evolved significantly over time. What began as a sharp, playful engagement with figuration has expanded into a more expressive mode, in which he fluidly merges figuration and abstraction. Inhabiting the uneasy space between humor and the grotesque, his tragicomic theatricality magnifies the absurdity of contemporary existence. “It’s a kind of transference of these inner feelings I have about humanity,” he explained in a recent interview with Observer. “I think that they mostly represent what goes on in my mind as an empathetic relation and reaction to what’s going on in the world. I can see where everything’s going off the rails, and this does disturb me deeply. I don’t like to focus on it so much, but I can’t help but for it to come out in my art.” At the core of his practice lies a tireless exploration of the human condition—an inquiry into the tensions and contradictions that arise from the interplay of mind, emotion and the subconscious, as he translates the anxieties and dissonances of modern life into visual form. Condo’s exhibition follows the museum’s acclaimed retrospectives devoted to Jean-Michel Basquiat in 2010 and Keith Haring in 2013, serving as the final chapter of the Musée d’Art Moderne de Paris’s “New York Trilogy,” which charts the rise of a generation of painters who redefined art in the 1980s.

Philip Guston and Raymond Pettibon shows in conversation

• Musée Picasso-Paris
• Through March 1, 2026

Both Philip Guston and Raymond Pettibon have used their art as a vehicle for sharp social commentary, building visual narratives that operate in the symbolic space between irony and satire. Their works make hard truths visible—yet also strangely engaging—drawing the viewer into mischievous pleasure before forcing a confrontation with American society and its flaws. This season, the Musée national Picasso-Paris presents two separate exhibitions dedicated to the American artists, creating a dynamic dialogue across two floors. “Philip Guston: The Irony of History” spans from his Nixon Drawings to his final paintings, underscoring the expressive and political force of his practice, which moves between grotesque caricature, unsettling darkness and an apparently childlike cartoon style. Meanwhile, upstairs, the museum stages “Raymond Pettibon's Underground,” spotlighting the artist’s acerbic, fiercely anti-authoritarian vision—biting images paired with explosive inscriptions that lay bare a nihilistic and violent American society.

Meriem Bennani, "Sole Crushing"

• Lafayette Anticipations
• Through February 8, 2026

Hans Op De Beeck, "On Vanishing"

• TEMPLON
• Through October 31, 2025

"Colors of Korea, Spotlight on Contemporary Korean Art"

• The Korean Cultural Center
• October 24, 2025 - August 29, 2026

On the occasion of the 140th anniversary of diplomatic relations between France and Korea, the Korean Cultural Center in Paris is presenting a sensory and symbolic immersion into Korean culture with “Colors of Korea, Spotlight on Contemporary Korean Art.” Bringing together postwar Dansaekhwa masters, internationally acclaimed figures such as Anicka Yi and rising talents like Guimi You, the exhibition unfolds as a chromatic journey through tradition and the evolving landscape of Korean art today. In Korean culture, color is not merely visual—it is language, breath and energy. Rooted in the Five Elements and the yin-yang principle, the obangsaek (the five cardinal colors: blue, red, yellow, white and black) form a symbolic map of the universe, expressing cosmic balance and the rhythm of time. The exhibition draws on this ancestral vocabulary while reinterpreting it through the lens of contemporary artists. Brought to life through a collaboration between the National Museum of Modern and Contemporary Art of Korea, the Némo Biennale, the Fiminco Foundation and nearly 15 Korean and French galleries, the show stands as a powerful testament to the enduring and fertile cultural exchange between the two countries.