The top 5 things we learnt from the Art Basel and UBS Art Market Report 2026
The latest Art Basel and UBS Art Market Report 2026 offers a snapshot of how the global art market performed in 2025, and what the year ahead may hold for artists and art market professionals in the UK.
1) The UK stays in second place, but competition is building
The UK remained the world’s second largest art market in 2025, with $10.5 billion in sales and an 18% share, up 2% year on year. Growth was modest and leaned more on public auctions than on dealer turnover. By contrast, France grew faster to around $4.5 billion and 8%, underlining rising competition within Europe.
2) Fairs and overseas sales remain crucial for UK galleries
The report suggests that in-person channels such as fairs and exhibitions continue to play a central role in how art is bought and sold. For UK galleries, participation in international fairs remains an important route to market. However, this reliance on overseas events also highlights the commercial impact of trade barriers, shipping costs and administrative requirements linked to cross-border sales.
3) Gender representation is improving, but value gaps persist
From an artist perspective, representation within the primary market has continued to improve, including greater gender parity among those represented by galleries: 50% in the primary market and 45% across all dealers. Works by women accounted for 37% of dealer sales by value. Nonetheless, disparities in value remain at the highest levels of the market, and shifts in demand towards more established categories of work may favour midcareer artists and estates over those at earlier stages in their careers.
4) AI: what to expect next
The report highlights ongoing uncertainty around artificial intelligence and how works made or adapted with AI are shown and sold. From August 2026, EU transparency rules will require clear labelling of AI-generated or AI-manipulated content on show or sale in Europe, to avoid misattribution. In the UK, the Government confirmed this week that it is resetting its approach to copyright and AI; the next phase of work includes a focus on labelling AI-generated content.
5) ARR at 20: part of the market, even if not a headline theme in the report
While the report’s headline findings do not highlight ARR, that absence is itself notable. ARR is referenced within broader policy context rather than as a market driver, suggesting it was not a key factor in 2025 performance. Meanwhile, in the UK more than £144 million has been distributed to artists and estates since ARR was introduced, and the UK remains the largest distributor of resale royalties worldwide which is evidence that ARR is now an established part of the market, delivering clear benefit to artists.
Read more
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