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It might not be as grand as Frieze or as trendy as SUNDAY, but the London Art Fair still holds its own. Now in its 24^th edition, the January art fair dedicated to British modern and contemporary art welcomed more than 700 VIPs yesterday afternoon. A total of 3,057 visitors made it to the "mere mortals" preview that immediately followed, and organizers expect about 24,600 visitors to traipse through the aisles of Islington's Business Design Centre in the next four days.

On the floor, modern dealers are — obviously — out in force, led by the likes of Adam Gallery, Austin/Desmond Fine Art, Connaught Brown, Hazlitt Holland-Hibbert, and Piano Mobile. This is where to find the Barbara Hepworths, Patrick Herons, and Ben Nicholsons that put Britain on the art map long before Damien Hirst caught his first butterfly — although those suffering from severe YBA withdrawal can head to Other Criteria for a fresh supply of spots.

There are 121 galleries exhibiting at LAF this year, including 29 in the Art Projects section dedicated to the just-emerging. One still finds ghastly landscape paintings aplenty, but the management is clearly attentive to the London gallery scene, and keen to make room for newcomers whenever possible. This year's selection includes, for example, the contemporary art gallery Pertwee, Anderson & Gold, which opened in Soho last February. Prices range "from £50 to £700,000" ($77 to $ 1,075,794), fair director Jonathan Burton told ARTINFO UK. "The balance of content we have is not something you can find elsewhere."

Last night, the buzz was clearly at the Art Projects section, curated by Pryle Behrman. For her first-ever art fair, Hannah Barry (who pretty much single-handedly made Peckham, South London, a sought-after art hub) is presenting three "ripper teeth" by James Capper. Going for £3,000 ($4,610) a pop, these rusty blade-like pieces of equipment have been handmade by the artist. Co-founder of SUNDAY art fair Limoncello is cannily showcasing its limited editions by Alice Channer, Vanessa Billy, Simon Fujiwara, and Ryan Gander — all in editions of 50, priced between £50 and £75 ($77 and $115). They're a bargain. Elsewhere, Alma Enterprises' booth — articulated around "the work of artists who examine systems of control" — displays documentation of a remarkable project by Roisin Byrne, for which she sought out artist Roberto Cuoghi and, upon failing to find him, decided to adopt his identity.

"It could be a turning point for the fair," says Bearspace's Julia Alvarez, who sits on Art Project's selection committee. She told ARTINFO UK that London is lacking a fair for its younger galleries, and that LAF could be well placed to fill this gap, connecting an already existing collector base with emerging dealers. Bearspace is presenting "A Brave New Work," a display putting together artists appropriating images from the faraway, including works by Reginald Aloysius, Susanne Moxhay, and Jane Ward (prices ranging from £290 to £3700, or $445 to $5,686). Salon Vert has a boothfull of works by the Hollywood A-Lister and artist Lucy Liu (price tag: £15,000, or $23,052).

For all of LAF's dynamism, one can wonder what the future holds in store for the fair, particularly with Frieze Masters looming on the horizon, ready to claim its share of London modern and pre-21^st century contemporary art dealers. But fair director Burton isn't worried: "If I look at the number of modern dealers who are exhibiting internationally — and particularly those modern dealers that take part in Art Basel and FIAC — our exhibitor base doesn't really overlap," he told ARTINFO UK. " [And] they are only looking for 70 galleries to fill that fair in its first year. While we are anything but complacent, it's not something which is really a concern for me at the moment."

The London Art Fair continues until Sunday, January 22.

imm cologne, Germany’s largest international fair for furniture and interior design opened Monday morning. Considering that it attracted 138,000 visitors in 2011, it’s sure to be a busy week at the Kölnmesse, with over 1,000 outlets featuring their latest designs. ARTINFO Germany perused the selection of new offerings, picking out the best combinations of form and function, as well as a few that are just plain cool.

To see a slide show of the best offerings, click the accompanying slide show. 

Italian artist Francesco Vezzoli isn’t known for holding back in his work. He has cast superstar actors, actresses, and directors in fake movie trailers and political campaign ads, created a perfume that smells like "greed," put Nicki Minaj in a baroque dress for W Magazine, and had Lady Gaga play a piano painted by Damien Hirst. In fact, most of Vezzoli’s oeuvre has been star-studded (which is why it’s surprising to hear him complain that he is “tiring of working with stars” in a recent interview with the Guardian.)

Yet the artist’s latest proposal for a 24-hour-only pop-up museum, still carries the reflected shine of celebrity, despite its posture of institutional critique. Vezzoli will take over Paris’s Palais d'Iéna (the exact date is still TBA), filling it with 16-foot-tall neoclassical figures topped by the heads of celebrities he has worked with, including Courtney Love and Cate Blanchett. The Palais d’Iéna was originally built as a museum, but currently hosts France’s social, economic, and environmental councils. Vezzoli will kick out the government for a day and install his own version of a museum, featuring an institution with its own press conferences and student tours during the day that transforms into a fully functioning nightclub in the evening. In its final three hours, the museum will throw a public party. 

Vezzoli’s 24-hour museum could be just another spectacle, but the artist sees it as a parody of institutional integrity compromised by money (Vezzoli’s museum, as with several other of his projects, is sponsored by Prada). “[Cultural institutions] have gone from being small and protected to being big and less protected,” Vezzoli said. “The only institutions that aren't for rent are the private ones because people like Prada don't need the money.” The artist balances on the line between over-the-top kitsch and pointed critique — though he doesn’t always fall on the side he intends to. In a 2010 interview Vezzoli told ARTINFO, “I have given up trying to claim a political aspect to my work. I leave it to others to judge.”

For Vezzoli, the takeover is “a parody of a retrospective.” "If you're setting up this whole extravaganza and make it completely self-referential, you become the object of the ridiculousness,” the artist told the Guardian. The comment seems to be a thinly veiled jibe at Maurizio Cattelan, whose hanging Guggenheim retrospective seemed to descend into pure self-collapsing parody on its own.

Ask the average 99 percenter what they think the soundtrack to the Occupy movement might be, and you’re likely to hear something along the lines of “drum circle,” plus maybe a snort and a crack about personal hygiene. This new video for “Police Song” by Black Pus — a fuzz-and-groove project from Brian Chippendale, (slightly) better known as the drummer for beloved Providence noise duo Lightning Bolt — offers an entirely different kind of music for the movement. Although it is firmly rooted in drumming. And according to Chippendale himself, it is called “Police Song” not to allude, critically or otherwise, to law enforcement, but because of the track’s “melodic reference to a Police song” (which one we’re not sure).

But in the way of the best music clips, this one adds a new dimension to the song. It was shot by a biker making his or her way through the streets of downtown Providence, Rhode Island, starting on Federal Hill, a strip of semi-fancy restaurants with working class Italian- and increasingly Latin-American surroundings; briefly following a — yes — police cruiser; passing the ice skating rink at the foot of the state’s various banking headquarters; and ending among the tents of Occupy Providence. The picture, shaky as hell, might give you motion sickness, but the video constructs a narrative all the more elegant for having been created with literally no budget. Go ahead and count yourself among the dozens to embrace its charms.

For film, there is Cannes. For architecture, there is Barcelona. And for watches, there is Geneva, home of the annual Salon International de la Haute Horlogerie, this year celebrating its 22nd anniversary.

This Monday, the world’s leading watchmakers gathered at the vast Palexpo center to unveil their most glamorous and extravagant new creations at the start of the highly anticipated fair. For those of you who couldn’t make it to Switzerland, ARTINFO is here to bring you the best of the show (in pictures, anyway).

Cartier, Tank Folle Watch

Folle bears the same trademarks as the rest of Cartier’s nearly hundred-year-old Tank collection — a slender frame and wristband, a sun-style dial, Roman numerals, and sword-shaped hands — but with a “Persistence of Memory”-like twist: the face is crumpled, reminiscent of Dali’s melting clocks, framed in diamonds, and encased in 18-carat rhodium-plated white gold. The Tank Folle will be manufactured in a very limited edition of only 200.

Van Cleef & Arpels, Pierre Arpels Watch

Sixty years after its creation specifically for Pierre Arpels, Van Cleef & Arpels has reinvisioned the iconic watch with a contemporary look. The Arpels watch possessed an enduring sophistication and subtlety, represented by the watch’s slim frame that disappears effortlessly under the shirtcuff and was versatilie to be worn on any occasion — for Arpels was not only a businessman, but also a traveler, a designer, and sportsman. Retaining Arpels’s sense of style and the signature perfectly circular watch face, the new model has been updated with extreme delicacy. It has beveled edges, thinner attachments, and a manually glued alligator-skin wristband, which replaces the former stitching. 

Montblanc, Unique Haute Joaillerie White Gold Wristwatch

Paying homage to the timeless elegance of Princess Grace of Monaco, Montblanc unveiled a line of feminine watches, characterized by slim silhouettes, delicately embellished with roses. The Haute Joaillerie White Gold Wristwatch bears diamond motifs in the shape of falling rose petals on its face, which is framed by 18-carat white gold with petal-shaped white gold links on the wristband. It’s a watch truly fit for a princess — 44 baguette-cut diamonds sit on the bezel alone.

Vacheron Constantin, Métiers d'Art, "Les Univers Infinis"

In the past, Vacheron Constantin’s Métiers d'Art collection has referenced great artists and pioneers through the designs on its watches’ faces: a map of the new world to honor Christopher Columbus; a pastel Paris Opéra ceiling for Marc Chagall; and most recently, the tessellations of the Dutch graphic artist M.C. Escher. The latest installment of the Métiers collection is “Les Univers Infinis” ("The Infinite Universe"). The Calibre 2460, a mechanical self-winding movement, beats at the heart of the three new watches — the Dove, the Fish, and the Shell — which are finely detailed with designs inspired by Escher's work. They are engraved, enamelled, and gemset before being finished with a guilloché work. The birds in flight on the Dove Watch, encased in white gold, are outlined in yellow gold, colored with translucent enamel coating, beset with diamonds, and finished with interlaced threads of metal.

Ralph Lauren, 867 Watch

Traces of the Roaring '20s can be seen on the Art Deco-inspired 867 watch. With its thin, black, rectangular frame, silver opaline dial, and thin, black, satin strap with matching white gold pin buckle, it’s a sophisticated dress watch for men or women.

Pret A Diner is exactly the kind of place that veterans of the Berlin scene bemoan. It’s expensive (relatively), the people about as far from Neuköln-grunge as one can be, the food by Michelin starred chef Tim Raue high concept and often bite-size, beer not in the vocabulary. Oh, and it’s a pop-up, twice yearly, roughly coinciding with fashion week. Luckily, I’m not one of those people. While the experience can be at times contrived, places like Pret A Diner offer an interesting dimension to Berlin’s cultural and culinary offerings, in many ways representing the new trajectory one which the city finds itself (think more London, less Warsaw).

This edition, up through February 29, adds a particularly Berlin spin to the pop-up, adding Circleculture Gallery “In the Mix.” The self-proclaimed urban fine art gallery opened in 2001 to support various creative activities in art, music, fashion, and design. For “In the Mix” they created a gallery in the second floor of the Alte Münze, which visitors traverse to go to the restaurant and club below. In a statement to ARTINFO, Circleculture founder Johann von Lanzenauer said, “I like the idea of bringing art and food culture together under one roof but in separate rooms. It allows each discipline to be focused and presented with the right attention. In correlation of a temporary event a unique experience is created for the visitors. High culture in a relaxed and unpretentious context.” Von Lanzenauer brought some of his top artists to show in the exhibition, among them XOOOOX, Stephan Strumbel, and Katrin Fridriks. Highlights of the exhibition also included ATMA’s Minotaurus, a 10-foot-tall wooden cross strewn with nails and a depiction of Jesus with a bull’s head, located in the entry way.

According to von Lanzenauer, the whole project came together last December: “I was at the Art Basel Miami as they had heard about Circleculture gallery from different sides. It turned out they also where in Miami, so we met and they proposed me to collaborate at the Berlin edition of Pret A Diner.” The soft opening of “In the Mix” on saw elites of the Berlin scene such as Gallery Weekend's Michael Neff and RTL's Hendrikje Kopp flood the post industrial, avian themed space. 

– Meet MOCA TV: L.A.'s Museum of Contemporary Art will launch an online YouTube channel in July, complete with a documentary-style show about street artists and an "MTV Cribs"-style program that visits artists' studios. [NYT]  

– Gogo's Mother Trouble: Larry Gagosian is being sued for $14 million by the mother of former Artforum editor Charles Cowles, who believes the gallerist sold two paintings he had no right to sell. The megadealer made millions on the resale of a work by Roy Lichtenstein and a previously disputed Mark Tansey painting, both of which Jan Cowles claims her son sold to the gallery without her consent. [NYPost]  

– Kansas Art Budget Turnaround?: Kansas Governor Sam Brownback, who notoriously gutted all of his state's arts funding last year, surprised many when he proposed giving the Kansas Arts Commission a paltry-but-real $200,000 in his State of the State address yesterday. [McPherson Sentinel] 

– Judge Kills Kevorkian Art Lawsuit: An Oakland County judge dismissed a lawsuit about who owns 17 paintings made by the  late Jack "Dr. Death" Kevorkian. The dispute between a Massachusetts museum and the assisted suicide advocate's family will be taken up by a federal court. [Daily Tribune]

– The Art of the Game: German artist Tobias Rehberger plans to build a tennis court in London's Hyde Park and invite star players, including Roger Federer and Rafael Nadal, to play on it. [TAN]

– Michigan's Broad Art Museum Delayed: The formal dedication of the Broad Art Museum at Michigan State University, originally scheduled for April, will be pushed to the fall due to delays in building materials and "the priority placed on involving students in opening activities." Maybe students didn't like the idea of an opening during exam time? [Press Release]

– PST Goes Performance: Pacific Standard Time's performance and public art festival begins today, and the 11-day event will revisit — and recreate — a number of famous postwar performance works done in the L.A. area. James Turrell will use road flares and metal reflectors to set a Pomona College auditorium on fire (virtually), a restaging of a 1971 performance. [LAT]

– Jonathan Jones Hates Wikipedia: The delightfully curmudgeonly art critic was "excited" to see Wikipedia offline for 24 hours yesterday in protest of pending legislation. "Wikipedia is always the first site my search engine offers, for any artist," he writes. "Can it please stay offline forever?" [Guardian]

– First Accurate Panoramic View of Mecca on View at the British Museum: The watercolour by 19th-century painter Muhammad 'Abdullah is one of 45 artefacts lent by the Nasser D. Khalili Collection to "Hajj," an exhibition devoted to the pilgrimage to Mecca, which opens on January 26. [Press Release] 

– José Roca Appointed Adjunct Curator of Latin American Art at Tate: The Colombian, who was chief curator of the eighth Bienal do Mercosul, took up his post on January 9. He will work closely with Tate's Latin American Acquisitions Committee and represent the institution in Latin America. [Art Daily]

– The Louvre in Japan: An exhibition gathering 23 pieces from the Louvre collection will tour Morioka, Sendai, and Fukushima, cities still suffering from the aftermath of last March's tsunami and earthquake. [AMA]

ALSO ON ARTINFO:

London Art Fair Launches Dynamic 24th Edition, Unfrazzled by Upcoming Frieze Masters

Francesco Vezzoli Will Mock Museum Pretensions With 24-Hour Baroque Bacchanal in Paris

Christian Louboutin Working With the Crazy Horse Cabaret on Experimentally Erotic “Feu”

Black Pus Create the Ultimate Occupy Movement Music Video

See the Candy-Colored Architecture of New MoMA Curator Pedro Gadanho

10 Innovative Design Picks From the imm Cologne Fair

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When a group of artists including Chuck Close and Laddie John Dill filed a class action lawsuit against Christie's and Sotheby's for violating the California Resale Royalty Act, they probably knew they'd be in for a lengthy legal battle. But now the auction houses are looking to end the fight early. On Thursday, Christie's and Sotheby's filed a joint resolution to dismiss the artists' suit, which was filed in U.S. District Court in California. The law, they argue, is "unconstitutional, and therefore unenforceable."

The resale act mandates that artists are entitled to five percent of the sale price of any artwork resold in California or by a California resident for over $1,000. As it stands now, California is the only state in the union to have such a law, and the act has been inconsistently enforced since it was passed in 1976 — not only by auction houses but also by galleries who deal on the secondary market. In the original suit, filed in October of last year, Close, Dill, the estate of sculptor Robert Graham, and the Sam Francis Foundation accused the houses of concealing the identities of California sellers so they did not have to pay the resale royalty fee.

The auction houses hinted at their plans to attack the constitutionality of the law back when the suit was first filed. Christie's said in an early statement that "it views the California Resale Royalties Act as subject to serious legal challenges." The motion to dismiss shows just what legal challenges they had in mind. The auction houses argue that the law is unconstitutional because it contradicts the Commerce Clause, which says that no state law should seek to regulate economic activity outside that state. To provide some backup arguments, they also allege that the resale law is preempted by the national Copyright Act, which "entitles a lawful owner of a copyrighted work to resell that work without restriction," the Art Law Blog points out. California's resale royalty law has been challenged in court twice before, according to the book "Art Law: The Guide for Collectors, Investors, Dealers & Artists," and in both cases the law was upheld. Nevertheless, the book's authors Ralph Lerner and Judith Bresler have said that "some question remains as to the constitutionality" of the law.  

This relatively obscure legal issue has made headlines several times in recent months. A bill recently proposed in Congress seeks to make a resale royalty into national law, similar to the "droit de suite" laws that currently exist in Europe. California artist Mark Grotjahn is also suing collector Dean Valentine under California's Resale Royalty Act, arguing that he refused to give him the five percent fee to which he was entitled when the collector flipped his work.

Art Basel, the mother of all art fairs, has released its 2012 exhibitor list. What can we glean from the crop of approximately 300 galleries selected? The fair, which runs from June 14 through 17, will feature a selection of fresh Paris galleries, as well as a handful of promising names from Dubai. The pugnacious Eigen + Art, whose owner accused the selection committee of collusion when he was passed over last year, has been welcomed back into the fold. As for those who were left out? By our count, 39 galleries included in last year’s edition of Art Basel will not be returning this time around, including big names like Maureen Paley of London and Christine König Galerie of Vienna.

The majority of the turnover — 26 of the 39 names — participated in Basel’s “Feature” and “Statements” sections, which typically have a higher turnover rate because galleries are selected on the basis of specific projects rather than the overall strength of their program. This year, 13 galleries who previously exhibited in the more established “Galleries” section won’t be returning (a turnover rate fairly similar to that of last year, when 12 galleries who participated in 2010 stayed home).

The pruning made room for 41 galleries who didn’t participate in the fair last year. Among them is a crop of new Paris names, such as Applicat-Prazan (Art Feature), Balice Hertling (Art Statements), In Situ Fabienne Leclerc (Art Feature), and Galerie Jocelyn Wolff (Art Statements). Two rising stars in the Dubai art scene will participate in the fair for the first time in the Art Statements section. Green Art Gallery will present work by Shadi Habib Allah while Gallery Isabelle van den Eynde will show work by Rokni Haerizadeh.

One of the more amusing elements of the list is the return of Eigen + Art, who set off a national furor when he went to the German papers in outrage over his exclusion from last year’s fair. (“They messed with the wrong person,” owner Gerd Harry Lybke memorably told ARTINFO.) The two other Berlin galleries that joined him in his crusade, Giti Nourbakhsch and Mehdi Chouakri, were not welcomed back.

Other notable exclusions include popular, edgier spaces like Dublin’s mother’s tankstation, Los Angeles’s Overduin & Kite, and New York’s Reena Spaulings, which participated in the Features and Statements sections last year. The shuffling made room for some welcome new names, however, including L.A.’s Cherry & Martin, Berlin’s Peres Projects, Madrid’s Galeria Elvira Gonzalez, and London’s Hotel, which co-founded New York’s Independent fair. New York additions include Alexander Gray Associates, McCaffrey Fine Art, and D’Amelio Gallery, Christopher D'Amelio's forthcoming offshoot of the recently closed D’Amelio-Terras Gallery.

See a copy of the full list, in alphabetical order, below.

303 Gallery | New York

Miguel Abreu Gallery | New York

Acquavella Galleries, Inc. | New York

Air de Paris | Paris

Galería Juana de Aizpuru | Madrid

Alexander and Bonin | New York

Galería Helga de Alvear | Madrid

Thomas Ammann Fine Art AG | Zürich

Andréhn-Schiptjenko | Stockholm

Galerie Anhava | Helsinki

The Approach | London

Art: Concept | Paris

Alfonso Artiaco | Napoli

Baronian_Francey | Bruxelles

von Bartha Collection | Basel

Ruth Benzacar Galería de Arte | Buenos Aires

Galerie Jacques de la Béraudière | Genève

Galerie Berinson | Berlin

Bernier/Eliades | Athens

Fondation Beyeler | Basel

Galerie Bruno Bischofberger AG | Zürich

Galerie Daniel Blau | München

BFAS Blondeau Fine Art Services | Genève

Peter Blum Gallery, Blumarts Inc. | New York

Blum & Poe | Los Angeles

Marianne Boesky Gallery | New York

Tanya Bonakdar Gallery | New York

Bortolami | New York

Galerie Isabella Bortolozzi | Berlin

BQ | Berlin

Gavin Brown's enterprise | New York

Galerie Daniel Buchholz | Köln

Buchmann Galerie | Agra / Lugano

Cabinet | London

Galerie Gisela Capitain GmbH | Köln

carlier gebauer | Berlin

Galerie Carzaniga | Basel

Cheim & Read | New York

Chemould Prescott Road | Mumbai

Galerie Mehdi Chouakri | Berlin

Sadie Coles HQ | London

Contemporary Fine Arts | Berlin

Galleria Continua | San Gimignano (Siena)

Paula Cooper Gallery | New York

Galerie Chantal Crousel | Paris

Stephen Daiter Gallery | Chicago

Thomas Dane Gallery | London

Massimo De Carlo | Milano

Dvir Gallery | Tel Aviv

John M Armleder – Ecart | Genève

Galerie Eigen + Art | Berlin

Richard L. Feigen & Co. | New York

Konrad Fischer Galerie | Düsseldorf

Foksal Gallery Foundation | Warszawa

Galeria Fortes Vilaça | São Paulo

Fraenkel Gallery | San Francisco

Peter Freeman, Inc. | New York

Stephen Friedman Gallery | London

Frith Street Gallery | London

Gagosian Gallery | New York

Galerie 1900-2000 | Paris

Galleria dello Scudo | Verona

gb agency | Paris

Annet Gelink Gallery | Amsterdam

Gerhardsen Gerner | Berlin

Gladstone Gallery | New York

Galerie Gmurzynska | Zug

Galería Elvira González | Madrid

Marian Goodman Gallery | New York

Goodman Gallery | Johannesburg

Galerie Bärbel Grässlin | Frankfurt am Main

Richard Gray Gallery | Chicago

Greene Naftali | New York

greengrassi | London

Galerie Karsten Greve AG | St. Moritz

Cristina Guerra Contemporary Art | Lisboa

Galerie Michael Haas | Berlin

Hauser & Wirth | Zürich

Hazlitt Holland-Hibbert | London

Galerie Max Hetzler | Berlin

Galerie Hopkins | Paris

Edwynn Houk Gallery | New York

Xavier Hufkens | Bruxelles

Leonard Hutton Galleries | New York

i8 Gallery | Reykjavik

A arte Studio Invernizzi | Milano

Jablonka Galerie | Köln

Bernard Jacobson Gallery | London

Galerie Martin Janda | Wien

Catriona Jeffries Gallery | Vancouver 

Johnen Galerie | Berlin

Annely Juda Fine Art | London

Galerie Kamm | Berlin

Casey Kaplan | New York

Georg Kargl Fine Arts | Wien

Sean Kelly Gallery | New York

Kerlin Gallery | Dublin

Anton Kern Gallery | New York

Kewenig Galerie | Köln

Galerie Kicken Berlin AG | Berlin

Galerie Peter Kilchmann | Zürich

Klosterfelde | Berlin

Galerie Bernd Klüser | München

Johann König | Berlin

David Kordansky Gallery | Los Angeles

Tomio Koyama Gallery | Koto-ku, Tokyo

Gallery Koyanagi | Tokyo

Hans P. Kraus Jr. Fine Photographs | New York

Andrew Kreps Gallery | New York

Galerie Krinzinger | Wien

Galerie Krugier & Cie | Genève

Nicolas Krupp | Basel

Kukje Gallery | Seoul 

kurimanzutto | México D.F.

L & M Arts | New York

L.A. Louver | Venice, CA

Galerie Lahumière | Paris

Yvon Lambert | Paris

Landau Fine Art, Inc. | Montreal

Margo Leavin Gallery | Los Angeles

Simon Lee Gallery | London

Galerie Gebr. Lehmann | Dresden

Lehmann Maupin | New York

Galerie Lelong | Paris

Galerie Gisèle Linder | Basel

Lisson Gallery | London

Galerie Löhrl | Mönchengladbach

Long March Space | Beijing

Luhring Augustine | New York

Galerie m Bochum | Bochum

Jörg Maass Kunsthandel | Berlin

Maccarone | New York

Magazzino | Roma

Mai 36 Galerie | Zürich

Gió Marconi Gallery | Milano

Matthew Marks Gallery | New York

Marlborough Fine Art Ltd. | London

Barbara Mathes Gallery | New York

Galerie Hans Mayer | Düsseldorf

The Mayor Gallery | London

McKee Gallery | New York

Galerie Greta Meert | Bruxelles

Anthony Meier Fine Arts | San Francisco

Galerie Urs Meile, Beijing - Lucerne | Luzern

kamel mennour | Paris

Metro Pictures | New York

Meyer Riegger | Karlsruhe

Galeria Millan | São Paulo

Galleria Massimo Minini | Brescia

Victoria Miro | London

Mitchell-Innes & Nash | New York

Stuart Shave / Modern Art | London 

The Modern Institute | Glasgow

Moeller Fine Art | New York

Jan Mot | Bruxelles

Galerie Mark Müller | Zürich

Galerie Vera Munro | Hamburg

Galerie nächst St. Stephan Rosemarie Schwarzwälder | Wien

Galerie Christian Nagel | Berlin

Richard Nagy  Ltd. | London

Edward Tyler Nahem Fine Art LLC | New York

Helly Nahmad Gallery | New York

Nature Morte | New Delhi

Galerie Nelson-Freeman | Paris

Galerie Neu | Berlin

neugerriemschneider | Berlin

New Art Centre | Wiltshire, Salisbury

Galleria Franco Noero | Torino

David Nolan Gallery | New York

Galerie Nordenhake | Berlin

Galerie Georg Nothelfer | Berlin

Galerie Nathalie Obadia | Paris

Galería OMR | México D.F.

The Pace Gallery | New York 

Galerie Alice Pauli | Lausanne

Galerie Françoise Paviot | Paris

Galerie Perrotin | Paris

Friedrich Petzel Gallery | New York

Galerie Francesca Pia | Zürich

Galerija Gregor Podnar | Berlin 

Galería Joan Prats | Barcelona

Galerie Eva Presenhuber | Zürich

ProjecteSD | Barcelona

Galleria Raucci / Santamaria | Napoli

Almine Rech Gallery | Paris

Regen Projects | Los Angeles

Regina Gallery, London & Moscow | Moscow

Galerie Denise René | Paris

Anthony Reynolds Gallery | London

Galleri Riis | Oslo 

Galerie Thaddaeus Ropac | Paris

Andrea Rosen Gallery | New York

Sage Paris | Paris

SCAI The Bathhouse | Tokyo

Aurel Scheibler | Berlin

Esther Schipper | Berlin

Galerie Rüdiger Schöttle | München

Galerie Thomas Schulte | Berlin

Galerie Natalie Seroussi | Paris

Sfeir-Semler | Beirut 

Tony Shafrazi Gallery | New York

ShanghART Gallery | Shanghai 

ShugoArts | Tokyo

Sies + Höke Galerie | Düsseldorf

Sikkema Jenkins & Co. | New York

Bruce Silverstein Gallery | New York

Skarstedt Gallery | New York

Skopia Art Contemporain | Genève

Sperone Westwater | New York

Sprüth Magers Berlin London | Berlin

Galerie St. Etienne | New York 

Nils Staerk |Copenhagen

Stampa | Basel

Standard (OSLO) | Oslo

Starmach Gallery | Krakow 

Christian Stein | Milano

Galeria Luisa Strina | São Paulo

Galerie Micheline Szwajcer | Antwerpen

Taka Ishii Gallery | Tokyo

Timothy Taylor Gallery | London

Team Gallery | New York

Galleria Tega | Milano

Galerie Daniel Templon | Paris

Galerie Thomas | München

Galerie Tschudi | Zuoz

Tucci Russo Studio per l'Arte Contemporanea | Torre Pellice (Torino)

Galerie Bob van Orsouw | Zürich

Annemarie Verna Galerie | Zürich

Vitamin Creative Space | Guangzhou, Beijing

Waddington Custot Galleries | London

Galleri Nicolai Wallner | Copenhagen

Washburn Gallery | New York

Galerie Barbara Weiss | Berlin

Michael Werner | New York

White Cube | London

Donald Young Gallery | Chicago

Galerie Susanne Zander, Delmes & Zander Gbr | Köln

Galerie Thomas Zander | Köln

Zeno X Gallery | Antwerpen

Zero... | Milano

David Zwirner | New York