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  • Four Trends in Art Buying That Dominated 2025

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    David Hockney, The Poet, from The Blue Guitar, 1976-77. Courtesy of Adam Baumgold Gallery

    Auction results are usually the only public data available for reading the art market, even though they reflect only the secondary sphere. Art fair sales reports can hint at how the primary market is behaving and what collectors are circling, but even those numbers are unstable, shaped by discounts, negotiations and the many variables that can shift between an invoice being issued and a wire arriving. Artsy, widely regarded as the largest online marketplace for art, recently released its first Buyer Trends Report based on the searches and primary-market transactions on its platform, offering a clearer picture of what collectors were buying in 2025.

    “This report reinforces the patterns we identified in Artsy’s Art Market Trends 2025: collectors are becoming more selective, and that discipline is directing demand toward the primary market—especially mid-tier and emerging artists,” Artsy CEO Jeffrey Yin told Observer, noting that works priced under $10,000 are benefiting as buyers look for strong entry points that do not rely on speculation. “Even as the top end recalibrates, the fundamentals remain healthy. People are acquiring art they genuinely want to live with, at price points that feel responsible in today’s market.”

    Trend 1: Smaller paintings at smaller prices

    Small paintings have dominated recent gallery shows and fairs, particularly on the emerging side. Pocket-sized works encourage a more intimate and emotional relationship with the subject, but they are also easier to live with—lighter to ship, simpler to frame and far less punishing when it comes to storage or relocation. In cities like New York and London, where aggressive real estate markets make long-term leases a luxury, collectors are increasingly opting for art that can move with them.

    Artsy’s users in 2025 were actively seeking art on a micro scale, with searches for “micro,” “mini” and “small” rising 40 percent, 47 percent and 49 percent. Forty percent of all purchases on the platform were for small works, and acquisitions tagged as “miniature and small-scale paintings” increased 66 percent year over year.

    A pocket size painting of a book in a white cube spaceA pocket size painting of a book in a white cube space
    Installation view: Olivia Jia’s “Mirror stage” at Margot Samel in the spring of 2025. © Matthew Sherman 2025

    These numbers may be predictable for an online marketplace, where buyers tend to trust digital transactions for lower price tiers rather than multimillion-dollar blue-chip masterpieces that require in-person due diligence. Still, the pattern aligns with the 2025 Art Basel & UBS Art Market Report, which noted that while the highest-end segment contracted sharply (sales above $10 million fell steeply in both number and total value), works priced below $50,000 accounted for roughly 85 percent of dealer transactions in 2024. Smaller galleries—those with under $250,000 in annual turnover—reported a 17 percent increase in sales. The report also confirmed steady growth in the sub-$5,000 range, mirroring Artprice’s recent data showing a rise in transactions under $10,000. Hiscox’s 2024 Online Art Trade Report found that 60 percent of online buyers purchased works under $5,000, with the fastest-growing bracket under $1,000. At the fair level—from NADA Miami and Untitled Art, which just closed, to Independent New York and Future Fair—small-format works were often among the first to sell out, frequently within VIP day, as both younger and seasoned collectors favored accessible entry points that fit urban apartments.

    The design world is echoing the same preference. Artsy identified the rise of “gallery wall” and salon-style décor as a key trend, with interiors favoring densely hung arrangements of small pieces over single statement works. Publications from Elle Decor to The New York Times have likewise pointed to small-format art as the next major wave in collecting—easier to buy, easier to place and uncannily suited to the economic and spatial realities of 2025.

    As collectors lean toward more affordable, manageable formats, editions and drawings are also gaining popularity, particularly for those who want to access established and blue-chip names otherwise out of reach. Artsy’s report dedicates a spotlight to David Hockney, who, after a few landmark years of museum shows, saw a spike in demand not only for paintings but also for prints available at more accessible price points. Searches for his name were up 46 percent on Artsy in 2025, making him the third most searched artist on the platform, with strong demand for his more “popular-priced” etchings.

    Trend 2:  Blue’s growing appeal

    In a time of uncertainty and global turmoil, collectors have been turning toward the calming psychological pull of blue. Searches for “blue” on Artsy were up 20 percent year over year, with a particular preference for cobalt, a deep, vivid shade. Searches for “cobalt” rose 131 percent year over year, while purchases tagged “bright and vivid colors” increased 22 percent.

    Large blue monocrome paintingLarge blue monocrome painting
    Yves Klein, California (IKB 71), 1961. Sold for €18.4 million ($21.4 million). Christie’s

    As water becomes more precious and record-hot summers force us to reckon with its growing scarcity, blue has gained traction for its association with water. Works depicting swimming pools, waves and open seas have seen growing interest, with searches for “ocean,” “sea” and “water” rising by 33 percent, 28 percent and 24 percent, respectively. This trend has been visible at fairs over the past few years and in the auction market—most notably with Yves Klein’s California (IKB 71) (1961), a monumental museum-grade masterpiece that sold for €18.37 million ($21.34 million) at Christie’s Paris in October.

    But the blue trend extends well beyond the art world. Pantone’s Spring 2025 palette featured multiple saturated blues, with Strong Blue among its most circulated seasonal shades. Vogue declared cobalt the “new it-color,” as designers Tommy Hilfiger and Loewe leaned into deep blues in their spring/summer 2025 runway shows. Miu Miu, Balenciaga and Ferragamo pushed electric and ultramarine blues in recent campaigns, while beauty and consumer culture followed suit: Glossier and Rare Beauty launched cobalt liners, Dyson released cobalt-violet appliances that became TikTok fixtures and Apple’s deep-blue iPhone finish emerged as the most ordered shade of its cycle.

    Trend 3: A return to nature

    This widespread desire to disconnect and return to the essence has also fueled a renewed longing for nature—something many rediscovered during the pandemic. This “bucolic escapism,” a contemporary take on the idyll, has taken hold in gallery shows and fair presentations through dreamy landscapes, rolling hillsides, lush gardens and flower compositions, as well as scenes of horses.

    Art history offers precedent: renewed fascination with pastoral imagery tends to surface during moments of political fatigue or cultural volatility. In Ancient Rome, pastoral ideals emerged amid expansion, civil war and social anxiety, as poets and painters projected fantasies of rustic simplicity—Virgil’s Arcadia being the archetype. After the turmoil of the Napoleonic era, European painters embraced a neoclassical pastoral vocabulary as an antidote to upheaval and imperial overreach. The pastoral has long served as a stabilizing fiction—a world governed by harmony rather than conflict, by timeless nature rather than chaotic politics. Today’s appetite for harmonious landscapes, garden scenes and atmospheric horizons reflects similar pressures: climate dread, digital overload and geopolitical tension.

    A lone figure stands beside a waterfall under the glow of a rainbow, bathed in mystical light, creating an atmosphere of quiet awe and connection with nature.A lone figure stands beside a waterfall under the glow of a rainbow, bathed in mystical light, creating an atmosphere of quiet awe and connection with nature.
    Caleb Hahne Quintana, A Flicker in the Ancient Rhythm (detail), 2025. Flashe and drybrush on linen, 74 x 54 in. Courtesy the artist and Anat Ebgi, Los Angeles / New York. Photo by Shark Senesac

    On Artsy, purchases of works tagged “landscapes and waterscapes” were up 35 percent year over year, “flora” up 44 percent and “earth tones” up 29 percent. Searches for related topics also accelerated: “picnic” rose 208 percent, “outdoors” 80 percent, “nature” 30 percent and “landscapes” 19 percent.

    Once again, the trend extends beyond the art world, with organic, nature-inspired shapes, earth tones and natural light dominating collectible design and interiors—fueling continued momentum for the Lalannes—and echoing lifestyle culture more broadly. Biophilic design, from indoor gardens to moss-green upholstery and stone surfaces, has become a recurring feature in architecture and retail, while fashion and wellness brands lean into materials and palettes that promise grounding and retreat in an increasingly unstable, urbanized world. Pinterest’s 2025 summer trend report highlighted a sharp rise in nature-oriented searches tied to the “digital detox” narrative. Airbnb reported a 100 percent increase in searches for countryside stays and a 50 percent rise for national park stays, with Gen Z driving a 26 percent surge in fall travel searches—Vermont ranked as a top foliage destination. TripAdvisor and other booking data indicate that smaller, nature-adjacent cities are outperforming major metropolitan destinations, and the U.S. National Park System logged roughly 332 million visits in 2024, confirming that nature-based travel and outdoor engagement have become defining trends of 2025.

    Trend 4: The return of domestic tableus

    With the pandemic, for better or worse, people rediscovered the pleasures of staying home, reviving interest in domestic rituals such as cooking and shared meals. Unsurprisingly, the final key trend Artsy identified is the rising popularity of still lifes that depict this comforting domesticity, along with scenes of people eating together. Purchases of works tagged “food” were up 61 percent year over year, while searches for “dinner” and “food” each rose 44 percent, “dining” 38 percent, “meal” 28 percent and “table” 18 percent.

    A 1969 painting titled Candy Counter by Wayne Thiebaud displays an orderly confectionery display with lollipops, wrapped candies, and sweets on trays, set against a clean background with a scale and glass jar.A 1969 painting titled Candy Counter by Wayne Thiebaud displays an orderly confectionery display with lollipops, wrapped candies, and sweets on trays, set against a clean background with a scale and glass jar.
    Wayne Thiebaud, Candy Counter, 1969. 120.7 x 91.8 cm., from a private collection. © Wayne Thiebaud VAGA at ARS, NY and DACS, London 2025

    Once again, the trend extends across lifestyle and communication. Etsy reported that searches for “dining ware” and “supper club,” driven by table-setting categories, surged by 1,000 percent. Social platforms are flooded with cooking tutorials, dinner-party events and images of dining—often at home. On TikTok, “dinner parties” content views were up 70 percent year over year and #CookingTok remained one of the most active tags, while on Instagram, posts tagged #tablescape increased over 35 percent. On YouTube, cooking videos saw a 25 percent increase in watch time, and Eventbrite reported a 45 percent rise in cooking-class bookings in 2024-2025. As eating out becomes more expensive and people feel more disconnected and alienated, the rediscovery of cooking and sharing food reflects a contemporary nostalgia as much as a desire to reconnect with the essence—what truly nourishes body and soul.

    Now, if we think of art as both symptom and palliative, these buying patterns begin to read as something larger than market behavior. They reveal a broader societal undercurrent—a map of what people are seeking, avoiding or trying to soothe. In this sense, what collectors gravitate toward becomes a quiet proxy for the contemporary condition, a way of understanding not only what is selling but what people feel they need.

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    Four Trends in Art Buying That Dominated 2025

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    Elisa Carollo

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  • A Collector’s Edit of Covetable Luxury Gifts

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    John Baldessari’s Nose/Silhouette: Green, 2020 Screenprint

    Last month, my friend Laura hosted a Dalí-themed dinner party at Main Projects, the gallery she owns with one-half of the Icy Gays duo, Eric Thomas Suwall. Between courses, an artist asked what kind of art I like, and I wasn’t sure whether he meant the art I like to see in museums, or put on walls, the art I like to experience, or simply like to think about. Whatever he meant, it didn’t matter because it was a question I have no interest answering—which I was polite about, of course. Defining art by style, medium, subject, school, technique, color or artist has always felt like a list-buiding exercise rather than providing another person with a greater understanding of who you are, which think is generally the purpose of any such question. I appreciate art that evokes an emotional response. It doesn’t need to be a fuzzy or inspiring feeling; art that makes me uncomfortable is often more compelling. With that, I’ll try to articulate how John Baldessari‘s Nose/Silhouette: Green, 2010, makes me feel and why I love it.

    My eyes like following the irregularities in the circumference of the green blob encompassing the nose—a facial feature that, unlike eyes or smiles, no human in the history of the world has ever held responsible for being the cause of love at first sight. And yet that is what Baldessari forces us to see when we aren’t doing laps around a face we’re trying to imagine. Baldessari died on January 2, 2020, and I can’t help but wonder how the generation-defining pandemic that unfolded three months after he passed would have shaped later works, had he lived through it. Baldessari’s legacy is multilayered, but the part I return to the most is that his art pushed thinking about how the meaning of an image shifts depending on the context. The world didn’t see noses for nearly year after Baldessari died (give or take, depending on your politics), which may have made some of us realize how much a nose can tell you about a person.


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    Merin Curotto

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  • Artsy President Dustyn Kim On Evolving Alongside the Company

    Artsy President Dustyn Kim On Evolving Alongside the Company

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    Artsy president Dustyn Kim says art has always been part of her life. Courtesy of Artsy

    In 2017, Observer posed this question: As the online art auction space shrinks, is Artsy the heir apparent? In the years since, the art world has had many ups and downs, but the online art brokerage created in 2009 by Carter Cleveland has forged ahead, building partnerships with major institutions and a monumental digital library of for-sale artworks while edging out early challengers like Paddle8 and Auctionata. “Many of our competitors in the early days wanted to disrupt the art industry, so they would either compete directly with galleries by bringing artists on to their online galleries or compete with auction houses by running their own auction sites,” Cleveland told Observer in 2019. “These companies were able to generate revenue a lot faster than us because they went straight to that transactional model. But ultimately, the amount of inventory they could get was very limited because the rest of the industry didn’t want to work with them.”

    That, in a nutshell, is how Artsy, which launched as a platform for artwork discovery, eventually became the largest online art marketplace globally by offering auction houses and art galleries a way to pivot to online sales—something the art world could no longer avoid during the pandemic. Today, the company is both a place to buy art and an influential voice in the art world—its industry reports and buyer facing editorial content help shape narratives around what’s hot in art right now.

    Overseeing it all is newly appointed Artsy president Dustyn Kim, the first woman ever in the role. She joined the company as chief revenue officer in 2017, and she’s been largely responsible for expanding Artsy’s gallery business and strengthening its secondary market offerings. “It’s amazing to look at Artsy’s progression these past seven years,” she told Observer when we asked Kim about her work at Artsy. From there, she opened up about the evolution of the company and its users, the mechanics of building relationships in the art world and her own art collection.

    You’ve been with Artsy since 2017. What initially attracted you to the company? From what I understand, you weren’t always in the art world. 

    My professional background centered on data and technology companies prior to Artsy, but art has always been a part of my life. My mom is an artist. She had multiple jobs in the art world—from working at a print- and paper-making studio to teaching college courses on painting. She did this while trying to build her practice and art world recognition, and I saw firsthand how difficult this industry can be. When the Artsy opportunity came along, I knew immediately that this was a company and a mission—to expand the art market to support more artists—that I wanted to be a part of. It was one of those moments in life where everything just clicked. All of those years developing an expertise in business finally paired with an industry that I’m passionate about evolving and growing.

    What has your progression at Artsy been like in terms of responsibility? 

    I started by leading our Galleries & Fairs business, helping to grow the number of galleries that partner with Artsy to roughly 3,200 from over 100 countries. After a few years, I assumed responsibility for our secondary market teams, expanding the number of auction houses and benefit partners on Artsy and building our Artsy Auctions and private sales business. Throughout that time, we also built a robust marketplace operations team to handle everything from cybersecurity to customer support. With my most recent promotion, I am now responsible for Artsy’s internal operations as well, including finance, legal and corporate development.

    How has Artsy changed since you came on? 

    It’s amazing to look at Artsy’s progression these past seven years. When I joined Artsy, we were focused purely on aggregation: getting all of the world’s art and art collectors on Artsy and making the process of discovering art easier and more joyful. On the gallery partner side, that meant tackling challenges like the lack of information about artwork pricing and availability. On the collector side, that involved using our data and technology to match people with artists and artworks they may never have otherwise discovered. Next, we focused on making the process of actually buying and selling art easier and more joyful. We’ve spent years building out eCommerce and all of the infrastructure that supports it, from online payment methods to shipping integration to fraud prevention.

    We are now in a position to help grow the art market by bringing this all together in what we like to call ‘the art advisor in your pocket.’ Very few people have access to art advisors, but Artsy has all of the data and functionality to fill that gap. We can guide users and help them refine their taste, develop relationships with sellers, acquire works, and manage their collections—all on Artsy.  

    And how have the collectors who use the platform evolved? 

    In Artsy’s earlier days, our user base was what I call our “power users.” This is generally a group of people already familiar with the art world. They appreciate Artsy’s ability to connect them to the world’s fairs, gallery exhibitions, and auctions and are engaged in researching and discovering both well-known blue-chip artists and up-and-coming emerging artists. This group includes both newer and more established collectors, but they generally come to Artsy with a sense of what they’re looking for and an understanding of the art world. Now, we have a much more diverse group of collectors. With over 3 million users on Artsy, we have a global audience that ranges from people looking to make their first art purchase to people who have collected for years.

    Particularly for these new and aspiring collectors, we’re continuously introducing new ways to help individuals find the art they love. This includes initiatives like Foundations, our online art fair, live now, that features works from small and midsize galleries from around the world that are known for nurturing early-career artists. Works are mostly priced under $10,000, and we invite really fantastic galleries to take part and create lots of storytelling around the featured artists and works. Foundations is an ideal context to find your first (or next) art purchase and discover plenty of new artists and galleries.

    A lot of your work involves relationship building—do you see that as a plus? 

    A fair amount of my job involves relationship building—both now and in my prior roles at Artsy. I’ve always felt that understanding your customer is a core component of any leader’s job, but for an industry as unique as ours it’s an absolute imperative. Artsy’s mission is to expand the art market. We can’t do that without a nuanced understanding and appreciation of exactly what is and isn’t working in both the physical and digital realms of art buying and selling.

    Major art world moments, like fairs, are always a great opportunity to see the industry in action. I personally prefer smaller gatherings—lunches with gallery directors or a walk-through of a new exhibition—can solidify relationships while giving me a closer look at how people are using Artsy and what more they want to see from us. I recently had lunch at AP Space, for example, and was able to connect with a few artists, collectors, and gallery directors in a more casual setting. It’s moments like those where I feel like I’m ingrained in this community.

    You’re an art collector yourself. What can you tell me about your collection?   

    With an artist mother, collecting has always been a part of my life. I remember going to a benefit auction with my mom much earlier in my career and using my savings to bid on a vibrant 9-by-9-inch work on paper by Carol Salmanson. I was drawn to the calligraphic flow of the work, overlaid with fine, bright brushstrokes. Over the years, I’ve continued to refine my taste and viewpoint on the type of collection I want to build. At this point, I’m focused primarily on acquiring works by women artists. I also lean more towards emerging artists, partly because they are more likely to be within my budget range but more so because I want to directly support artists who may not yet be in the spotlight.

    My most recent purchase was a work by Gabrielė Aleksė, a Lithuanian artist I discovered through Artsy. I initially saw her paintings in one of our “Curators’ Picks: Emerging Artists” collections on Artsy and was immediately drawn to the serenity of her works. I started following her on Artsy and watched as new works became available, eventually finding a work that I couldn’t live without that is now proudly displayed in my home. That’s the beauty of Artsy: I never would have known of this artist living and working over 4,000 miles away from me had Artsy not helped me discover her and then guided me through the international purchase process.

    Artsy President Dustyn Kim On Evolving Alongside the Company

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    Christa Terry

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