A CRITICAL OVERVIEW AT ARCO 2025

These are two adverbs that sum up the guiding policies of an ARCO that has come to understand its influence within the European art market, as well as its role as a key catalyst for the trends shaping the industry. The transition from editions featuring guest countries to thematic editions reinforces this premise. That is, ARCO is no longer so much about celebrating the local in terms of national, political borders, but rather about revaluing topics and curatorial approaches that, through the curated programs, vertebrate contemporary artistic discourse.

There has been an open and public discussion about this shift: Is it necessary for ARCO to validate a global narrative? To what extent does this make sense? If the aim were to foster differentiation or uphold the independence of artistic criteria, the range of topics would be broader, deepening the discursive and critical richness that art should always offer—an aspect often lacking in the institutional art world, which sometimes falls short of the moral authority it claims. The tension between the institutional sphere, which is more policy-driven, and the art market, which is inevitably shaped by external influences, remains a key issue.

The Debate on the Amazon

In its latest edition, ARCO has reinforced the growing recognition and visibility of Amazonian art—or, more broadly, of the Amazon as a cultural, social, and natural space. In an interview with the curators of the Watamisé program, they raised important questions about the potential contradictions between art and the market, and how these might impact the parties involved. As they pointed out, we still do not fully understand the long-term consequences, though there is hope that these efforts will remain intact as long as cooperation and sustainability remain the focus.

One of the main topics of discussion was whether the Amazon has become a recurring, even overused theme. In a world driven by speed and image, where everything—including art—is consumed instantly, the risk of artificial recognition is undeniable. However, the Amazon as a region offers an environment rich enough to sustain its relevance: biodiversity, community, and resistance are central themes that align with today’s artistic concerns. This, more than anything else, explains its continued presence in the art market.

It is also worth noting the role that artists from Amazonian communities—and, more broadly, Indigenous artists—have played in this edition. And not merely within isolated, dedicated spaces, but also within galleries where their work shared the commercial spotlight alongside internationally renowned artists, established masters, and emerging talents. That is an achievement in itself, even if the long-term impact of such recognition remains uncertain.

A Thriving but Targeted Market

ARCOmadrid 2025 has reaffirmed its position as the leading platform for public acquisitions by Spanish institutions. In a booming market like the Iberian one, it is no coincidence that public funds are invested at the country’s largest gathering of art galleries. Purchases by museums such as the Reina Sofía and CA2M, collections such as the ARCO Foundation, and various public administrations confirm the strength of commercial relations—largely because galleries have succeeded in offering what public policies seek to showcase.

During the presentation of the Reina Sofía’s acquisitions, repeated emphasis was placed on the number of works by female artists, a trend that, according to Jordi Martí, Spain’s Secretary of State for Culture, will continue in the coming years. However, this brings us to another ongoing debate: Is the positive discrimination necessary for the historiographical recognition of marginalized artists and periods truly an organic and parallel process? Or does it risk becoming a political constraint when funds are limited? What is left out? What is included? The main challenge in this recognition lies in ensuring that it does not become exclusivity—which inevitably circles back to the fundamental question of what should be acquired.

A topic of much debate, the acquisitions and official statements made during the fair confirm that art by women currently sits at the top of the agenda. However, there are still spaces for other historically silenced groups to be integrated into the broader narrative. The distinction between history and historiography is key: historical events cannot be changed, but they can be acknowledged, made visible, distorted, or manipulated by a historiography that is in constant flux. This, in turn, has a profound impact on the market.

Controversy Sells—or Does It?

One of ARCO’s recurring themes has traditionally been controversy, often sparked by certain works. Some artists, whose reputation and recognition are built on provocation, continue to meet expectations in this regard. Figures such as Eugenio Merino remain central to the fair’s media coverage, using their work to critique power structures and political dynamics. Others come to ARCO specifically seeking visibility and a platform for dissent. This is, ultimately, both logical and necessary: art, after all, should serve as a space for thought—all thought.

But how risky, convenient, provocative, or even servile is it to adopt a specific ideological stance when that stance is already institutionally endorsed? In an increasingly polarized world, artists raise their voices in protest, yet within commercial circles, there is often an awareness of how institutional narratives might reinforce their positioning in the market. Some of the artistic practices exhibited at the fair, despite being framed as exercises in creative freedom, seem to have abandoned their original disruptive or aesthetic impulses in favor of aligning with external expectations.

“Aesthetics at the Click of a Like”

To borrow the title of Castro Flórez’s book—illustrative and succinct—this edition of ARCO has largely distanced itself from the pursuit of Instagrammability. That once-dominant aesthetic strategy has taken a backseat this year. With a few exceptions, the focus has shifted toward well-executed presentations and a strong commitment to artistic quality, reaffirming ARCO as a space for genuine engagement and transactions. Instead of chasing viral attention, the fair has embraced a more deliberate approach, reinforcing its status as a serious art market event.

Maribel López, ARCO’s director, can take pride in these achievements. She has successfully positioned Madrid as a privileged meeting point for European and Latin American collectors and initiatives. Despite the delicate balance between institutional influence and market demands, ARCO has managed to address both, offering opportunities for new gallerists through specific programs, strengthening its role as a hub for artistic exchange, and consolidating its institutional relevance.