Art
Basel
2026
Group
Presentation

Messe

Basel,

Switzerland

09 - 22 Jun 2026

Goodman Gallery returns to Art Basel with a presentation bringing together milestone works by El Anatsui, Kapwani Kiwanga, William Kentridge, Carrie Mae Weems and Yinka Shonibare among others, coinciding with a year of major international exhibitions, commissions and institutional presentations.

Stand R11

The booth also includes important and historically resonant works by Sue Williamson, Ghada Amer, Naama Tsabar, Hank Willis Thomas, Laura Lima, Shirin Neshat, Atta Kwami, Winston Branch, Misheck Masamvu, Jared Ginsburg, Kate Gottgens, Pamela Phatsimo Sunstrum and David Goldblatt. Beyond the booth, the gallery also supports presentations by Alfredo Jaar on Unlimited and Pélagie Gbaguidi on Parcours.

Featured Works

on our Stand

William Kentridge’s masterful still life, 'Drawing for L’Orfeo (Orfeo & Eurydice)', 2025, was developed in relation to his forthcoming staging of Monteverdi’s 'L’Orfeo' for the 2026 Glyndebourne Festival.

William Kentridge
Drawing for L'Orfeo (Orfeo & Eurydice), 2025
Charcoal and coloured pencil on paper
Work: 150 x 213 cm (59.1 x 83.9 in.)

Drawing remains foundational to Kentridge’s practice and central to the development of major projects, including the visual language of L’Orfeo.

The still life is a defining genre within Kentridge’s mature oeuvre. In this large-scale composition, it becomes a vehicle for meditations on pleasure, fecundity, intimacy and artistic production, while evoking a wilderness that presses against the domestic sphere.

Kentridge’s Glyndebourne debut marks a significant biographical milestone. His father, Sir Sydney Kentridge, first attended the festival in 1947 and later retired to the county that hosts it.

Current/forthcoming exhibitions: The Battle Between YES and NO, Kunsthalle Praha, Prague (until 7 September 2026); I am not me, the horse is not mine, Bozar, Brussels (18 September 2026 – 7 March 2027); solo exhibition, Goodman Gallery London (24 September – 7 November 2026).

William Kentridge Drawing for L'Orfeo (Orfeo & Eurydice), 2025 Charcoal and coloured pencil on paper Work: 150 x 213 cm (59.1 x 83.9 in.) Drawing remains foundational to Kentridge’s practice and central to the development of major projects, including the visual language of L’Orfeo. The still life is a defining genre within Kentridge’s mature oeuvre. In this large-scale composition, it becomes a vehicle for meditations on pleasure, fecundity, intimacy and artistic production, while evoking a wilderness that presses against the domestic sphere. Kentridge’s Glyndebourne debut marks a significant biographical milestone. His father, Sir Sydney Kentridge, first attended the festival in 1947 and later retired to the county that hosts it. Current/forthcoming exhibitions: The Battle Between YES and NO, Kunsthalle Praha, Prague (until 7 September 2026); I am not me, the horse is not mine, Bozar, Brussels (18 September 2026 – 7 March 2027); solo exhibition, Goodman Gallery London (24 September – 7 November 2026).

El Anatsui’s monumental wooden relief 'Fractured World Order', constructed in 2022 from reclaimed timber sourced near the artist’s studio in Nsukka, marks a decisive return to a foundational medium within the artist’s transformative practice.

El Anatsui
Fractured World Order, 2022
Burnt and incised tropical hardwood, tempera
Work: 140 x 420 cm (55.1 x 165.4 in.)

While internationally celebrated for his metal hangings, presented to widespread acclaim at the 2007 Venice Biennale, wood was central to Anatsui’s formative experimental practice during the 1980s and 90s.

Constructed from salvaged timber sourced from the Nsukka Market near his former studio in Nigeria, this relief work is composed of narrow wooden slats arranged in a modular horizontal structure that can be continually reconfigured.

Featured in the TIME 100 Most Influential People list in 2023, Anatsui is one of the most prominent and commercially successful African artists in history.

Current/forthcoming exhibitions: Project a Black Planet: The Art and Culture of Pan Africa, Barbican Centre, London (until 6 September 2026); Goodman Gallery x Pierre Yovanovitch Mobilier, Pierre Yovanovitch Mobilier Gallery, Paris (until 28 August 2026)

El Anatsui, Fractured World Order

Kapwani Kiwanga’s beaded textile 'A Coincidence of Wants: Copper-Reds' is composed of tiny glass beads, a resonant trade material first introduced in the artist’s acclaimed installation for the Canada Pavilion at the 2024 Venice Biennale.

Kapwani Kiwanga
A Coincidence of Wants: Copper-Reds, 2024
Glass beads, metal and copper leaf
Work: 182 x 125 x 6.5 cm (71.7 x 49.2 x 2.6 in.)

Developed by Venetian traders and historically circulated as currency and instruments of colonial exchange, glass beads are a core material within Kiwanga’s expansive practice, which she uses to draw attention to the enduring legacies of transoceanic trade networks.

This work’s geometric structure and copper-red palette reflect Kiwanga’s distinctive use of minimalist abstraction across sculpture, installation and painting, including her monumental Studio Museum commission BLEED.

Recent awards include the Marcel Duchamp Prize (2020), Zurich Art Prize (2022) and Joan Miró Prize (2025), a major international award for an artist at a breakthrough stage in their career.

Current/forthcoming exhibitions: Changing States, Fundació Joan Miró, Barcelona (until 13 September 2026); BLEED, site-specific installation, Studio Museum in Harlem, New York (until 1 April 2027).

Kapwani Kiwanga A Coincidence of Wants: Copper-Reds, 2024 Glass beads, metal and copper leaf Work: 182 x 125 x 6.5 cm (71.7 x 49.2 x 2.6 in.) Developed by Venetian traders and historically circulated as currency and instruments of colonial exchange, glass beads are a core material within Kiwanga’s expansive practice, which she uses to draw attention to the enduring legacies of transoceanic trade networks. This work’s geometric structure and copper-red palette reflect Kiwanga’s distinctive use of minimalist abstraction across sculpture, installation and painting, including her monumental Studio Museum commission BLEED. Recent awards include the Marcel Duchamp Prize (2020), Zurich Art Prize (2022) and Joan Miró Prize (2025), a major international award for an artist at a breakthrough stage in their career. Current/forthcoming exhibitions: Changing States, Fundació Joan Miró, Barcelona (until 13 September 2026); BLEED, site-specific installation, Studio Museum in Harlem, New York (until 1 April 2027).

Kapwani Kiwanga, Trinket, Canada Pavilion, La Biennale die Venezia 2024

In Conversation

Kapwani Kiwanga

The Art of Kapwani Kiwanga

05:03

Carrie Mae Weems’s resonant photo series 'The Sea Side 2' extends her signature use of self-portraiture as witness in a meditation on global migration, from the transatlantic slave trade to contemporary forms of economic displacement.

Carrie Mae Weems
The Sea Side, 2, 2026
Archival pigment prints
Work: 157 x 349 x 5.1 cm (61.8 x 137.4 x 2 in.)

The work depicts the artist from behind on a shingle beach, facing the ocean horizon as both a spatial and historical threshold. Scale and intimacy have been central to Weems’ photographic practice since the landmark Kitchen Table Series (1990).

The maritime subject of The Sea Side 2 extends her ongoing engagement with transatlantic histories, developed in her major institutional film commission The Long Goodbye at V&A East Museum, London.

Weems was the first Black woman to receive the Hasselblad Award (2023) and the first African American woman visual artist awarded the United States National Medal of Arts (2024).

Current/forthcoming exhibitions: The Long Goodbye, V&A East Museum, London (until 18 October 2026); The Cool Blue Wind, a civic sound-image collage, Obama Presidential Center, Chicago (opening 19 June 2026).

Insight

Carrie Mae Weems

Insight with Carrie Mae Weems

06:13

Yinka Shonibare’s major sculpture 'Feeling Free Like a Bird' derives from an eighteenth-century portrait of an aristocratic horsewoman by fellow Royal Academician George Stubbs.

Yinka Shonibare
Feeling Free Like a Bird, 2023
Fibreglass sculpture, hand-painted with Dutch wax pattern, Fibreglass mannequin, Dutch wax printed cotton textile, globe, brass, steel, faux birds, wood, leather, and metal wires
Work: 280 x 251 x 70 cm (110.2 x 98.8 x 27.6 in.)

Layering historical references and cultural signifiers, this work combines Shonibare’s signature Dutch wax textiles with endangered African bird species and an astrological globe inscribed with the names of African political activists.

Monumental sculpture has long been central to Shonibare’s practice. Major public commissions include the Fourth Plinth, Trafalgar Square, London (2010), and the forthcoming Wind Sculpture for the Queen Elizabeth II National Memorial (2027).

Founded by the artist in Lagos in 2019, the Guest Artists Space (GAS) Foundation is presenting a multimedia installation within the central exhibition of the 2026 Venice Biennale.

Current/forthcoming exhibitions: Patterns of Power, The Arc, Winchester (until 3 June 2026); Yinka Shonibare: Legion of Honor 100, Legion of Honor, San Francisco (until 26 July 2026); Yinka Shonibare: Sanctuary, Rose Art Museum, Waltham, MA (until 3 January 2027)