Are you a contemporary art gallery and would like to participate in Art Madrid'26? The application period is now open!

The 21st edition of Art Madrid opens its application period. From March 4 to 8, 2026, the Galería de Cristal del Palacio de Cibeles will once again be the meeting point for national and international contemporary art. If you are a contemporary art gallery, this is your chance to be part of one of the most consolidated fairs in the Spanish circuit. The deadline for applications will be open until October 17, 2025.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

The Art Madrid contemporary art fair has been taking place during the capital's Art Week for more than twenty years. Art Madrid is a multidisciplinary fair of new artistic trends with the participation of about 40 national and international galleries that work with painting, sculpture, graphic work, photography, installation and digital art of recent production.

Aimed at both a broad and specialized audience, the fair combines a carefully curated artistic selection with a strong commitment to the professionalization of the sector and the visibility of gallery work. In addition to its gallery program, Art Madrid also develops a parallel program of activities throughout the month of February, promoting dissemination, reflection, and dialogue among cultural agents, collectors, and new audiences.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

A key mission: to connect art with society

The fair's main mission is to bring contemporary art closer to the general and specialized public, creating an inclusive platform that promotes artistic talent, encourages collecting and strengthens the gallery ecosystem. The objective is clear: to disseminate art within and beyond our borders, generate new audiences and give visibility to young talents.

Art Madrid is a key event for the promotion and commercialization of both national and international contemporary art, placing the city in the spotlight during Art Week. At the same time, it remains committed to fostering a space for reflection and learning.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

PROGRAMS

GALLERY PROGRAM

In each edition, the Gallery Program of Art Madrid brings together about 40 exhibitors, both national and international, who present proposals focused on recently created contemporary artworks.

COLLECTOR’S PROGRAM

Art Madrid offers a specialized advisory service for galleries and the general public interested in acquiring artworks.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

PATRONAGE PROGRAM

Art Madrid develops a patronage program as part of its commitment to artistic creation and the promotion of collecting. Through different categories of awards, the fair contributes to the professional development of artists while encouraging the incorporation of contemporary works into prominent private collections. This program is made possible thanks to the commitment of collaborating entities, collectors, and private companies who, through their support, actively contribute to strengthening the cultural ecosystem and consolidating new forms of patronage.

ACQUISITION AWARD

Art Madrid joins forces with institutions and companies to support artistic creation and gallery work at the fair through the presentation of several awards.

EMERGING ARTIST AWARD

Our sponsors, as part of their commitment to promoting contemporary art, will provide an award to one of the emerging artists participating in the fair.

RESIDENCY AWARD

An award that will be given to one of the participating artists in this edition, intended for carrying out an artist residency.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

PARALLEL PROGRAM

The Parallel Program of Art Madrid serves as a platform for analysis, research, and critical thinking around contemporary issues. This line of programming incorporates cross-cutting discourses and interdisciplinary approaches that make it possible to address current challenges through artistic practice, curating, and cultural production.

ACTIVITIES

The program for Art Madrid’26 will include a series of activities taking place throughout the month of February and during Madrid Art Week at the Galería de Cristal of the Palacio de Cibeles. In this edition, in addition to the pre-fair activities, the third edition of Open Booth, the Performance Cycle, the program Lecturas: Curated Walkthroughs by Art Madrid, and the Interview Program will all be continued.

Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

A comprehensive communication ecosystem

With an audience of more than 110 million impacts in its last campaign, Art Madrid deploys a 360 strategy that includes traditional and digital media, social networks (with more than 113K followers), newsletter, and a 360 virtual tour. The fair is also committed to its own content with interviews, articles and curated tours accessible on its blog and digital platforms.

A key event in Madrid's cultural agenda

With an average visitor age between 35 and 54 years, 60% women, and 40% new collectors, Art Madrid establishes itself as a diverse, inclusive fair aligned with the interests of the contemporary audience.

[Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

Our commitment to art and culture extends throughout the year. We strive to broaden access for new audiences and foster interest in art and culture across all social sectors. We also aim to promote and give visibility to artists, with a special focus on emerging talent. We view art and culture as essential pillars of social development, and through our event, we work to create accessible, dynamic spaces that foster communication and cultural expression.

[Art Madrid '25. Contemporary Art Fair. 20th Edition, 2025. Photo by Lucas Amillano.

IMPORTANT INFORMATION:

Applications for participation in the 21st edition of Art Madrid may be submitted to the following email address: info@art-madrid.com until October 17, 2025.

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.