The Brazilian art market is growing as the country prepares for a tense presidential vote. ArtRio, Brazil’s leading art fair, opened its doors in Rio de Janeiro on 16 September in a tense political climate, just weeks before the early October elections, but the numbers tell a different story from that of uncertainty: the growth of the Brazilian art market continues, supported by new collectors and increasing international attention. The sixteenth edition of the fair brings together 76 galleries, mostly Brazilian, until 20 September at Marina da Glória.
Key points
- ArtRio 2026 opened with 76 participating galleries, almost all Brazilian, in its sixteenth edition.
- The fair coincides with the campaign for the early October Brazilian elections, in which Luiz Inácio Lula da Silva is seeking re-election against Flávio Bolsonaro.
- According to the UBS and Art Basel Global Art Market Report, Brazilian dealers recorded a 21% year-on-year increase in sales in 2025.
- 23% of Brazilian collectors started collecting art only in the last five years, the highest share recorded by the survey.
- Notable visitors include Sheikha Al-Mayassa bint Hamad Al Thani, chairperson of Qatar Museums, the first major Middle Eastern collector to visit ArtRio.
ArtRio 2026 opens amid political tensions in Brazil
The fair takes place in a climate marked by Brazil’s political polarization, just days before the presidential vote. Several attendees at the Wednesday 16 September preview wore stickers in support of Luiz Inácio Lula da Silva, the outgoing left-wing president, who is running for re-election against Flávio Bolsonaro, son of former president Jair Bolsonaro, currently in prison for an attempted coup after his 2022 electoral defeat.
The context of the Brazilian elections
The vote is scheduled for the first days of October and the contest between Lula and Bolsonaro remains at the center of Brazilian public debate. Shortly before the opening of the fair, Brazil’s Supreme Court was involved in a politicized clash over corruption investigations, interpreted by many observers as a reflection of the power struggle between the two camps.
The effect of politics on the art market
The tension linked to political polarization has made some collectors more cautious with their spending ahead of the vote, according to reports from some fair attendees, in a parallel with the attitude observed among U.S. collectors before the 2024 elections. Despite this, Maria Luz Bridger, artistic director of ArtRio, says that galleries had already closed sales during the pre-preview dinner on Tuesday. “I’m a bit surprised, because the elections are in two weeks, so normally there is a lot of uncertainty. But the market is doing really well,” Bridger said, emphasizing how the event helps create a more intimate relationship between major collectors and galleries.
The sixteenth edition of ArtRio: figures and galleries
The main section of the fair, Panorama, hosts leading galleries well known on the international circuit, including Mendes Wood DM, Nara Roesler and Galleria Continua, alongside dealers active across Brazil. A smaller pavilion, dedicated to solo and duo presentations and institutional projects, is located near Marina da Glória and features smaller-scale works, often at more accessible prices.
Artistic diversity and origin of the galleries
Most of the exhibitors come from Rio de Janeiro and São Paulo, but a section dedicated to contemporary Brazilian practices also welcomes galleries from cities such as Brasília, Vitória and Belo Horizonte, highlighting the variety of the country’s artistic production: textiles, woodwork, beadwork, ceramics and mixed media.
Political themes in the Brazilian art on show
Many Brazilian artists address political themes in their work, and the selection presented at ArtRio is no exception. At the Mendes Wood DM booth, A Rota do Bicho da Seda n. 5 (2026) by Anna Bella Geiger, a 93-year-old multidisciplinary artist considered a living legend in Rio de Janeiro, reflects on physical and ideological borders using the Silk Road as a metaphor. At Janaína Torres Galeria, Público Alvo (2020) by Osvaldo Carvalho is on display, focusing on police brutality in Rio’s most neglected neighborhoods. “The targets are mostly young Black people and Black men, seen as dangers,” explains Luisa Moser, the gallery’s sales manager, adding that three works from Carvalho’s Balada series incorporate bullets found at sites hit by episodes of armed violence near his studio.
Growth and international attention for the Brazilian art market
Brazil remains the second-largest art market in Latin America and continues to expand its collector base. The data confirm that the growth of the Brazilian art market is not an isolated phenomenon, but a consolidated trend: according to the UBS and Art Basel Global Art Market Report, Brazilian dealers recorded a 21% year-on-year increase in sales in 2025.
New collectors and growth data
A survey conducted by Art Basel and UBS in 2025 shows that Brazilian collectors have the highest share of newcomers to the sector, with 23% having started collecting art only in the last five years. Bridger confirms that this figure matches the experience of ArtRio exhibitors, many of whom last year sold precisely to collectors who were new to the market. Among the foreign galleries present is Tomás Redrado Art, a Miami gallery dedicated to Latin American art, taking part for the first time: founder Tomás Redrado says he can count on a solid base of collectors already in Rio de Janeiro, a factor that has supported the commercial results of the booth, where three works by Argentine artist Guadalupe Reyna are on display.
The arrival of prominent international collectors
Among the most significant presences is Sheikha Al-Mayassa bint Hamad Al Thani, chairperson of Qatar Museums, considered one of the most influential collectors in the world, with an acquisition budget estimated at around one billion dollars. Her visit, which took place before the exclusive pre-opening dinner, marks the first time that ArtRio has welcomed a Middle Eastern collector of this stature, according to Bridger.
Local roots nevertheless remain the main driving force of the fair. Dealer Anita Schwartz, who founded her gallery in Rio almost thirty years ago, recalls how the Gávea neighborhood has turned into an increasingly important art hub: “Year after year it gets bigger and bigger. With the birth of the fair an atmosphere was created and today we have a market that is growing at an incredible pace.” In the same vein, Márcio Botner, co-founder of A Gentil Carioca, points out how the expansion of the local collector base is bringing a new audience to the fair: “The local market is important, and it is growing. New collectors are arriving who need to be educated.”
FAQ
What is the political context surrounding ArtRio 2026?
ArtRio 2026 opened in a climate of political uncertainty on the eve of the Brazilian elections, with President Lula running for re-election against Flávio Bolsonaro and a politicized clash that has also involved the Supreme Court.
How many galleries are taking part in ArtRio 2026 and where do they come from?
The sixteenth edition of ArtRio features 76 participating galleries, mostly Brazilian, with many exhibitors coming from Rio de Janeiro and São Paulo.
How is the political situation reflected in the works shown at ArtRio?
Several Brazilian artists at the fair address in their works political themes such as violence, police brutality and borders, both physical and ideological.
What signs of growth is the Brazilian art market showing despite political tensions?
Brazilian dealers recorded a 21% year-on-year increase in sales in 2025, 23% of collectors started collecting art only in the last five years, and the local collector base in Rio de Janeiro continues to expand.
Content produced with the assistance of artificial intelligence and human editorial review.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
