Art Basel Miami Beach 2025

Timothy Taylor is pleased to present a selection of works by post-war and contemporary artists at Art Basel Miami Beach 2025, bringing together paintings, sculptures, and textile works from the gallery’s primary program alongside significant secondary-market highlights.

Within our booth, in the Kabinett sector, a solo presentation of new works by Eddie Martinez offers an intimate view of his Whiteout series. Canvases from the series are accompanied by two painted aluminium sculptures cast from found materials, revealing the artist’s raw, gestural abstractions. 

This year, our presentation will introduce Martha Tuttle and Lauren Satlowski, whose debut solo exhibitions at Timothy Taylor coincide with the fair: Tuttle in London (through 20 December), and Satlowski in New York (through 13 December). New works in our booth showcase Tuttle’s tactile abstractions, exploring the body’s relationship with the environment, and Satlowski’s uncanny, ethereal paintings of familiar objects. Marina Adams, who joined the gallery this year, presents September Shift (2025), a kaleidoscopic painting in striking hues of cerulean, ultramarine, and gold, alongside new works on paper that feature bold, exploratory linework. These works follow her debut solo exhibition with the gallery this fall, where Adams’s inventive use of colour and rhythm established her distinctive approach to abstraction.

Sean Landers’s monumental triptych The Odds 1–3 (2025) consists of three meticulously rendered canvases depicting a bookshelf with volumes whose spines bare legible text. Collectively, the titles present statistics on the improbability of achieving financial success as an artist. The work recalls Landers’s early 1990s text paintings, where black-and-white writing reflected his humor, irony, and anxieties.

Other highlights include Jiab Prachakul’s debut sculpture, a bronze seated figure, deep in contemplation, imbued with the narrative richness and extraordinary detail of her paintings. A new painting by Honor Titus, Cy of Relief (2025), continues the artist’s exploration of youth, society, and femininity in his refined, symbolist-inflected figurative style. Hilary Pecis’s vibrantly patterned still life Flat File (2025) offers an intimate glimpse into a colourful, lived-in domestic space. From Hayal Pozanti, we present two new canvases in which expressive biomorphic forms appear to vibrate against nocturnal grounds. 

The formal and thematic investigations of these contemporary works are presented in dialogue with historic works by Helen Frankenthaler and Lynne Mapp Drexler, both of whom reimagined the landscape through innovative explorations of colour. Frankenthaler’s Center Break (1963), a radiant canvas from the early period in which the artist first found international acclaim, features an expanse of cornflower blue that seeps into an ochre field. In Drexler’s Yorktown (1960), also an early work, dynamic interplay of hue, gesture, and space evokes a vibrant autumnal scene.

Our booth further includes works by Alicia Adamerovich, Paul Jenkins, Jonathan Lasker, Sahara Longe, Chris Martin, Annie Morris, Kiki Smith, Paul Anthony Smith, and Eduardo Terrazas, alongside paintings by Aaron Garber-Maikovska and Rafael Delacruz, and exceptional secondary-market works by Agnes Martin, John Chamberlain, and Jean Dubuffet.