![Gerhard Richter, Wolken (blau) (Clouds [Blue]), 2025 © Gerhard Richter 2025. Courtesy the artist and David Zwirner](https://www.martincid.com/wp-content/uploads/2025/09/image-5.png)
David Zwirner will participate in Frieze London and Art Basel Paris with focused presentations of new works, recent series, and historically significant pieces from across the gallery’s program. The London booth foregrounds sculpture, painting, and works on paper by Huma Bhabha, Chris Ofili, Oscar Murillo, and Portia Zvavahera, alongside works by Lucas Arruda and Wolfgang Tillmans. A concurrent solo exhibition by Victor Man is on view at the gallery’s London location, the artist’s first with David Zwirner since the announcement of his representation.
At Frieze London, newly created sculptures and works on paper by Huma Bhabha are presented in dialogue with her recent institutional visibility. The stand also includes new paintings by Chris Ofili, Oscar Murillo, and Portia Zvavahera, with additional works by Lucas Arruda and Wolfgang Tillmans. Together, the selection spans materially experimental object-making, painterly research, and lens-based image construction, offering a cross-section of methods that address form and perception through distinct material languages.
A major London survey provides wider institutional context for the fair presentations: the Royal Academy of Arts is showing Kerry James Marshall: The Histories, the largest exhibition of the artist’s paintings outside the United States. After London, the survey is scheduled to travel to Kunsthaus Zürich and the Musée d’Art Moderne in Paris, marking a transnational itinerary that complements the gallery’s emphasis on museum-scale narratives.
In Paris, David Zwirner will present an exhibition of works by Gerhard Richter at the gallery’s Paris location, the artist’s third show with the gallery since the announcement of his representation. The exhibition brings together new works on paper with multiple, distinct painted series from the 1990s through the 2010s, including photo paintings, Abstrakte Bilder (Abstract Paintings), and reflective glass installations. The grouping highlights variation in scope, scale, and technique while tracing a sustained investigation into image production and perception across media. A press preview and walkthrough are planned in advance of the opening.
The Richter exhibition coincides in Paris with a major retrospective at the Fondation Louis Vuitton, curated by Nicholas Serota and Dieter Schwarz. In conjunction, the gallery show and museum survey offer complementary vantage points on Richter’s practice: one emphasizing serial procedures and material experimentation within a gallery context, the other presenting a broader retrospective arc within a museum framework.
At Art Basel Paris, David Zwirner will debut two new three-panel, large-scale edition works by Richter—Wolken (rosa) (Clouds [Pink]) and Wolken (blau) (Clouds [Blue])—extending the artist’s decades-long engagement with prints and multiples. Editions have figured prominently in Richter’s oeuvre since 1965, when he created Hund (Dog), his first editioned work. The new editions are based on a 1970 photo-painting triptych of the same title and dimensions that depicts a naturalistic, clouded sky; that earlier work itself drew on a source image from Atlas, Richter’s evolving archive of reference material. The appearance of these editions at the fair situates Richter’s iterative image-making within a public platform that foregrounds reproduction, translation, and the circulation of motifs across formats.
The Art Basel Paris booth will also feature major works by Ruth Asawa, Marlene Dumas, On Kawara, Joan Mitchell, and Bridget Riley. This intergenerational selection expands the presentation across media, placing woven sculpture, figurative and abstract painting, date-based conceptual practices, and optical investigations into proximity without collapsing their distinctions. The juxtaposition is designed to register correspondences around repetition, seriality, duration, and process, allowing each artist’s method to remain legible within a dense fair environment.
Citywide programming in Paris parallels the fair with projects that intersect with the gallery’s artists and their contemporaries. As part of Art Basel Paris’s offsite program, the Musée national Eugène-Delacroix has invited Nate Lowman to present After Delacroix, a project that stages new works in dialogue with the Romantic painter. A central oil painting reimagines Delacroix’s palette as both a material archive and a record of decisions. Surrounding light sculptures—assembled from hand-printed T-shirts, paint cans, and other studio materials—translate cultural fragments into new symbols, while a painting in the shape of a car air freshener references a canvas by Cecily Brown. The project treats art-historical influence as an active material, tracing how references shift across generations and contexts.
Several museums are presenting exhibitions that echo themes visible on the fair floor. The Musée national Picasso–Paris is showing an exhibition dedicated to Raymond Pettibon, bringing together approximately seventy drawings and a dozen fanzines that survey a graphic vocabulary oscillating between irony and unease. At the Musée d’Orsay, Bridget Riley: Starting Point examines Georges Seurat’s formative influence on Riley’s practice, noting that an early copy of The Bridge at Courbevoie functioned as a method of analysis and a catalyst for later investigations into perception. Also on view, the Bourse de Commerce—Pinault Collection presents Minimal, mapping the diversity of minimalist practices since the 1960s and including works by Dan Flavin, Felix Gonzalez-Torres, On Kawara, Bridget Riley, Robert Ryman, Richard Serra, and Merrill Wagner.
Across London and Paris, the gallery’s presentations and the parallel institutional programs establish a set of correspondences between individual practices and broader art-historical currents. In London, new work by Bhabha, Ofili, Murillo, and Zvavahera—shown alongside Arruda and Tillmans—highlights how contemporary artists test boundaries of form, medium, and subject. In Paris, Richter’s new editions and the gallery exhibition foreground seriality, reproduction, and the status of the image, while museum-scale shows across the city revisit lineages from Delacroix to Seurat and survey minimalist legacies. The result is a networked view of contemporary practice in which editions converse with paintings, archives inform new series, and fair booths are mirrored by museum investigations across the city.
Dates (for reference as stated in the materials): Kerry James Marshall at the Royal Academy of Arts remains on view through January 18, 2026, and will travel to Kunsthaus Zürich and the Musée d’Art Moderne, Paris. The Gerhard Richter exhibition at David Zwirner Paris includes a press preview and walkthrough on Thursday, October 16 at 5 PM. The Fondation Louis Vuitton’s Richter retrospective runs from October 17, 2025 to March 3, 2026. Nate Lowman’s After Delacroix at the Musée national Eugène-Delacroix is on view from October 22 to November 2, 2025. The Musée national Picasso–Paris’s Raymond Pettibon exhibition remains on view through March 1, 2026. The Bourse de Commerce’s Minimal remains on view through January 19, 2026.
