In the 20s of the last century, Paris continued to have an undeniable power of attraction for the cultural movements of the time. And this was true although the United States, and especially New York, was beginning to emerge as a reference country in full artistic effervescence. The ravages of the successive wars tipped the balance of art in favour of North America, an extensive land, far from direct conflict, not yet worn down by the weight of history and with a promising future of multitudinous shows and film industry ahead.

Berenice Abbott, Aerial view of New York at Night, March 20th, 1936, International Center of Photography, Gift of Daniel, Richard, and Jonathan Logan, 1984 (786.1984) © Getty Images/Berenice Abbott

But let’s get back to the 20s. Back then, the Art Nouveau was last shining in Europe while in New York, the Art Decó appeared, by urban design and stylish skyscrapers, to make this city an emblem. The connection between both metropolis based on an exchange of free thought shown in the arts and architecture. Perhaps few were aware at the time that the builders of the Rockefeller Center or the Chrysler Building were making history. The Gilger Age echoed still, a time between the end of s. XIX and early S. XX where the great family monopolies of the North American industry were born around important innovations such as the railroad, the exploitation of steel, the vast corn harvests, the livestock production and other significant advances in the hands of a few. The empowered families became great art collectors and unconscionable builders who wanted to demonstrate their power by raising taller and more iconic buildings. They succeeded.

Berenice Abbott, West Street, 1932, International Center of Photography, Purchase, with funds provided by the National Endowment for the Arts and the Lois and Bruce Zenkel Purchase Fund, 1983 (388.1983) © Getty Images/Berenice Abbott

The beginning of the century was a breeding ground suitable for artists. The stimuli multiplied, and the options seemed endless. Despite this, old Europe still represented the bohemian refuge, the place where the environment of creation was appropriated to restless minds because there were tradition, history and shared story, away from the sudden boiling of New York built overnight and based on galloping capitalism, the prelude to the Crack of 29. That's why many American creators laid vital bridges between Paris and the American city. This was the case of Berenice Abbott, a photographer born in Ohio in 1898 who let her talent flow to both sides of the Ocean.

Berenice Abbott, Canyon: Broadway and Exchange Place, 1936, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, Photography Collection. The New York Public Library, Astor, Lenox and Tilden Foundations © Getty Images/Berenice Abbott

Abbott worked on the portrait of celebrities, but for the documentary, not for dedication to entertainment and social reporting. She was interested in the representation of reality, without artifice, and was part of the movement of "direct photography" that claimed the artistic nature of this discipline without needing to intervene or compose the images. Her shots of New York and Paris are today invaluable documents that testify the vertiginous changes that both cities experienced. As thematic reports, her work allows us to know today a historical context full of misery, hope and ambition, in which the foundations of modern society were built. Although Abbott's artistic beginnings focused on sculpture, her connection with other artists of the moment and her interest in the representation of reality led her to try out photography, a discipline that she never left ever again.

Berenice Abbott, Rockefeller Center, ca. 1932, Courtesy Howard Greenberg Gallery © Getty Images/Berenice Abbott

The Mapfre Foundation dedicates to this artist its next exhibition "Berenice Abbott. Portraits of modernity ", which will open on June 1. The show brings together about 200 pieces of this indefatigable creator who made Paris and New York her spiritual homeland.

ART MADRID CLOSES ITS 21ST EDITION AS A KEY EVENT OF MADRID ART WEEK

The Galería de Cristal of the Palacio de Cibeles hosted the 21st edition of Art Madrid from March 4 to 8, once again consolidating its role as one of the must-see events of Madrid Art Week. Over the course of five days, the fair brought together 35 national and international galleries and more than 200 artists, turning the venue into a meeting point for gallerists, collectors, professionals, and lovers of contemporary art.

Throughout its trajectory, Art Madrid has built a distinct identity, with a constant focus on giving visibility to both emerging and established galleries and on opening contemporary art to diverse audiences. Rather than being structured around a single curatorial line, the fair embraced a plural proposal, respecting the unique DNA of each exhibitor.

Art Madrid’26 presented a Gallery Program distinguished by the diversity of artistic proposals and languages, encouraging dialogue between different generations and contemporary practices. Painting, sculpture, photography, drawing, installation, and new hybrid forms coexisted in an edition that once again confirmed the dynamism of today’s art scene

During the days of the fair, nearly 20,000 visitors explored the booths of the participating galleries and enjoyed a parallel program that expanded the experience beyond the traditional exhibition format.

The Parallel Program: An Expanded Art Fair

The Parallel Program once again took center stage in the Art Madrid experience, activating the fair space through projects that explored new forms of interaction between artworks, artists, and the public.

Among the most notable initiatives was the performance series Open Infinite: What the Body Remembers, which presented a daily performative action at the fair featuring works by Colectivo La Burra Negra, Rocío Valdivieso, Amanda Gatti, and Jimena Tercero. The pieces incorporated the body as a critical device and a space of memory, reinforcing the presence of performance within Art Madrid’s programming.

The third edition of Open Booth presented Despiece. Protocolo de mutación, by Daniel Barrio, a site-specific project that transformed the booth into a landscape constructed from urban remnants and industrial materials. The installation invited visitors to physically engage with the work, creating an immersive experience within the exhibition space.

Meanwhile, Espacio Nebrija hosted the project Estancias transitorias (NotanIA SipedagogIE), a proposal by Nebrija University that reflected on Aesthetic Intelligence in the face of the growing dominance of algorithmic logic. The installation proposed a reclamation of gesture, materiality, and the time inherent to the creative process as dimensions that cannot be reduced to automation.

Lecturas. Curated Walkthroughs also returned, with itineraries designed by Zuriñe Lafón and Marisol Salanova that offered curatorial insights for exploring the fair from specific critical perspectives and expanding the visitor experience.

Patronage, Awards, and Acquisitions

Support for contemporary creation once again stood as one of the fair’s central pillars through the second edition of the Art Madrid Patronage Program, which recognizes the work of artists and strengthens the connections between galleries, collectors, and private entities.

On this occasion, the following awards were presented:

Cervezas Alhambra Emerging Artist Award Iyán Castaño, represented by Galería Arancha Osoro

One Shot Hotels Breakthrough Artist Award Joost Vandebrug, represented by KANT Gallery

In the Acquisition Awards category, several private collections incorporated works presented at the fair into their collections.

Studiolo Collection Roger Sanguino — DDR Art Gallery

Devesa Law Kim Han Ki — Banditrazos Gallery

E2IN2 Collection Albert Bonet — Inéditad Gallery

dn2 Collection Iván Baizán — Galería Arancha Osoro

These acquisitions reflect the private sector’s commitment to the development of contemporary art and contribute to advancing the professional trajectories of emerging and mid-career artists.

Collecting and Support for the Artistic Ecosystem

The promotion of collecting once again played a prominent role in this edition thanks to the One Shot Collectors program, which offered personalized advice to both new buyers and more experienced collectors, facilitating access to the contemporary art market and fostering direct relationships between artists, galleries, buyers, and collectors.

This program, together with the Patronage Program, continues to strengthen the professional ecosystem surrounding the fair and reinforce Art Madrid’s commitment to supporting contemporary creation.

Among the most notable sales were works by Antonio Ovejero, represented by CLC ARTE; Leticia Feduchi and Ángela Mena, represented by Galería Sigüenza; Idoia Cuesta and Iyán Castaño, represented by Galería Arancha Osoro; and Yasiel Elizagaray, represented by Nuno Sacramento Arte Contemporânea. Likewise, the proposals presented by Inéditad Gallery were very well received, with notable sales of works by artists Albert Bonet and Eduardo Urdiales, as well as Carmen Mansilla, who debuted at Art Madrid'26 and achieved a sold out.

The overall balance of the edition has been particularly positive, with sales reported by all 35 participating galleries, confirming the strong interest from collectors and the dynamism of the market throughout the fair. Among the galleries that recorded notable commercial activity are La Mercería (Valencia), LAVIO (Murcia–Shanghai), 3 Punts Galería (Barcelona), Galerie One (Paris), Shiras Galería (Valencia), Galería Rodrigo Juarranz (Aranda de Duero), Galería São Mamede (Lisbon), Yiri Arts (Taiwan), and Trema Arte Contemporânea (Lisbon), among others.

A Fair made possible thanks to Its network of Partners

The success of Art Madrid’26 has been made possible thanks to the support of its official sponsors: Cervezas Alhambra, One Shot Hotels, Liquitex, Universidad Nebrija, and Posca, as well as the trust of its collaborators: Asociación 9915, Colección Studiolo, E2IN2, Colección dn2, Devesa Law, Enviarte, Cova 13, and Vanille Bakery Lab & Café. The fair also benefits from the involvement of its media partners and the support of various cultural organizations, private collections, and institutions that contribute to strengthening the contemporary art ecosystem.

Art Madrid: A Future Full of Possibilities

After 21 years of history, Art Madrid continues to consolidate its position as a key event in the contemporary art calendar, both nationally and internationally. Its ability to bring together galleries, artists, collectors, and institutions reinforces its role as a space for encounter, exchange, and discovery. The fair maintains a steadily growing outlook, driven by a program that evolves each year and increasingly opens up to more innovative proposals.

Thank you for being part of the 21st edition of Art Madrid. Your support is essential for continuing to promote art and culture.