PERU ADVANCES STEADILY ON THE CONTEMPORARY ART MAP
Peruvian contemporary art is experiencing a vibrant moment. Over the past decade, its art ecosystem has begun to consolidate, with a growing local collector base, a more professional gallery scene, and an increasing number of artists gaining international visibility. However, it remains an early stage, with a small and fragile market that requires stronger structures to support its development. Unlike other countries in the region, Peru lacks strong institutional support for contemporary art.
Lima is home to three museums that include contemporary art in their programming — MALI, MAC, and MUCEN1 — with MAC being the only one dedicated exclusively to contemporary art, and MALI standing out as the most active and established. However, these institutions alone are not enough to sustain a growing ecosystem. There is a clear need for more museums and public spaces dedicated to contemporary art, particularly outside the capital. The absence of international auction houses like Sotheby’s or Christie’s in the country is another sign of its limited scale. Nevertheless, interest in Peruvian art — both domestically and abroad — continues to grow.
A Historical Perspective: The Last Decade as a Turning Point
From the creation of the Lima Art Museum (MALI) in 1959 to the founding of the Museum of Contemporary Art of Lima (MAC Lima) in 2013, various milestones have shaped the development of the country's art sector. The economic boom between 2002 and 2013 coincided with greater institutionalization of the field, reflected in initiatives such as the creation of MALI’s acquisitions committee in 2007. However, it was the emergence of art fairs — Lima Photo, Art Lima, and especially PArC (Perú Arte Contemporáneo) — that provided Peruvian art with a sustained platform for international visibility. Founded in 2013, Art Lima was for several years a key space for connecting galleries, artists, and collectors, until its final edition in 2020, the same year Lima Photo ceased to operate.
In this context, PArC positioned itself as the only active contemporary art fair in the country. Despite the challenges brought on by the COVID-19 crisis, it maintained its annual programming and adapted to strengthen its presence. In 2022, it adopted the name Pinta PArC and, as of 2025, is presented as Pinta Lima. Its integration into the Pinta fair network has expanded its regional and international reach, establishing it as the leading platform for contemporary art in Peru. Today, Pinta Lima plays a central role in the artistic ecosystem, offering visibility, international projection, and an essential platform for the recognition of Peruvian artists. In its 2025 edition, the fair brings together over 35 galleries from various countries, alongside curators, collectors, and art professionals, with a program that combines innovation, critical thinking, and tributes to historical art figures. Thanks to this sustained effort, artists such as Fernando Bryce, Roberto Huarcaya, and Jorge Eielson have received important recognitions in the context of the fair.
Beyond Local Fairs: Peru's Presence on the Global Stage
In addition to the role of local fairs, milestones like Peru’s participation as guest country of honour at ARCOmadrid 2019 have been key in raising the international profile of Peruvian contemporary art. That edition featured 23 artists represented by seven Peruvian galleries, alongside nine international galleries from the United States, Spain, and other European countries. The event attracted over 100,000 international visitors — most of whom had never attended an art fair or visited a gallery in Peru before. These events help consolidate Peru’s presence on the global contemporary art scene. The same applies to the participation of Peruvian galleries in high-profile fairs such as Art Basel and Zona Maco — with spaces like Galería Livia Benavides at the forefront — as well as the growing presence of Peruvian artists in major events like the Venice Biennale. In these contexts, national representation has helped position Peruvian voices within key conversations in contemporary art. These platforms not only increase visibility but also open new opportunities for collaboration and collecting.
Galleries in Peru: A Key Driver in a Market Still Taking Shape
Galleries play a fundamental role in the careers of artists: they not only serve as exhibition spaces but also act as platforms for support, promotion, and professional development. In many cases, they are the ones who facilitate access to international circuits, participation in major art fairs, and connections with collectors, curators, and institutions. In the Peruvian context, this role is even more significant, as the local market is still in the process of consolidation and lacks a robust institutional ecosystem. Although most of the relevant contemporary art galleries in Peru are concentrated in Lima, their number remains small: only about 15 active commercial galleries. This figure contrasts sharply with other Latin American centers such as Bogotá, with over 40; Mexico City, with nearly 80; and Brazil, where São Paulo and Rio de Janeiro together host more than 100 contemporary art spaces.
Many of these Lima-based galleries operate with limited resources and face significant challenges in sustaining continuous programming or projecting internationally. The absence of a strong local collector base complicates their sustainability, and in some cases, the relationships between artists and galleries lack the structure and formality needed to build long-term careers. Nonetheless, the commitment of these galleries to contemporary art has been essential in giving visibility to Peruvian artists and keeping the scene active. Strengthening this network is crucial for the market’s growth.
State Support Still Lacking
Despite the progress of the artistic ecosystem, state support for contemporary art in Peru remains limited. There are no sustained cultural policies, no public programs for the acquisition of artworks, and the Ministry of Culture has played only a marginal role, even in key processes such as the selection of representatives for the Venice Biennale. Although an attempt was made during the presidency of Pedro Pablo Kuczynski (2016–2018) to promote a cultural patronage law, the initiative did not move forward, and no concrete efforts have been made in this direction since. As a result, the development of contemporary art in the country has relied almost entirely on private initiatives, which highlights its structural fragility and limits its potential for growth.
Peruvian Artists Abroad: International Success and Local Challenges
Many Peruvian artists are gaining significant visibility abroad, particularly in the United States and Europe — especially in Spain, where several have built solid careers. This phenomenon highlights both the talent within the country and the ability of Peruvian art to resonate with international audiences. However, it also reveals the fragility of local support: most of these artists have had to leave Peru to develop their careers, due to a lack of opportunities and a still nascent collector base that remains largely disengaged from supporting local creators. Although there is no single aesthetic that defines contemporary Peruvian art, the diversity of languages and the country’s cultural richness are reflected in a body of work of notable quality. Each artist works with their own visual language and references; some, like Fernando de Szyszlo, have reinterpreted the pre-Columbian legacy through a contemporary lens, while most offer personal and diverse approaches.
Strengthening the domestic market and expanding the local collector base is essential to ensuring that artists can build sustainable careers without needing to seek recognition abroad. Artists such as Fernando Bryce (honoured at the second edition of Pinta in New York), Roberto Huarcaya (PArC 2023), and Jorge Eielson (PArC 2024) are clear examples of internationally recognized Peruvian talent — due in part to platforms like Pinta. But there are many others, including a growing number of women artists such as Teresa Burga and Sandra Gamarra.
It is also worth highlighting the international recognition Peruvian artists have received through acquisitions by major museums and collectors. In 2019, the Museo Reina Sofía acquired a group of 1980s works by Herbert Rodríguez, and more recently, MoMA acquired works by Sandra Gamarra. In addition, Argentine collector Eduardo Costantini purchased three of her pieces during the latest edition of ARCOmadrid 2025 for the collection of MALBA in Buenos Aires. Another key milestone was the 2023 acquisition by Tate Modern of The Spirit of the Camala, a work by Santiago Yahuarcani — a member of Peru’s Uitoto people — represented by Crisis Gallery. These forms of recognition strengthen the presence of Peruvian art in leading international institutions and reflect a growing interest in diverse voices and perspectives within the country’s contemporary production.
A Promising Future
Despite structural challenges — such as the limited presence of arts education in schools or the persistent perception of art as an inaccessible luxury — the Peruvian art market has a solid foundation for continued growth. The growing interest in historically underrepresented voices is broadening and enriching the landscape of contemporary art in the country. This includes Indigenous artists — such as Sara Flores, Olinda Silvano, and Celia Vásquez Yui, all members of the Shipibo-Conibo community — as well as forms traditionally classified as craft, like textile art or ceramics, which often serve as primary mediums for these creators and are now beginning to be recognized as integral parts of the artistic field. A notable example of this shift is the Hochschild Correa collection, focused on contemporary Amazonian art, currently on view at the Museo Lázaro Galdiano in Madrid.
In this context of growth and ongoing challenges, the role of Pinta Lima is more relevant than ever. It not only showcases the richness and diversity of Peruvian art but also actively contributes to positioning Lima as a vital center within the Latin American contemporary art scene. With a rapidly expanding landscape and increasing international recognition, Peru is making steady progress on the contemporary art map.
1MALI (Museo de Arte de Lima) holds a collection spanning nearly 3,000 years of history, including ceramics, textiles, sculpture, and painting, from the pre-Columbian period to the present.
MAC (Museo de Arte Contemporáneo de Lima) is the only museum in the city dedicated exclusively to contemporary art.
MUCEN (Museo Central del Banco Central de Reserva del Perú) includes contemporary art among its collections and exhibitions, alongside pre-Columbian, traditional, and numismatic works. It is a publicly funded museum supported by the Central Reserve Bank of Peru.
*María Sancho-Arroyo will be attending the 2025 edition of Pinta Lima.
