PINTA LIMA 2025: ENTHUSIASM, QUALITY AND A SCENE GAINING GLOBAL MOMENTUM

The fair took place in the elegant Casa Prado in Miraflores and brought together 43 galleries from 15 cities. As expected, the largest share came from Lima (13 galleries), followed by Argentina and Chile. Also notable was the presence of galleries operating across borders or even continents, like Ginsberg + Tzu (Lima/Madrid) and Galerie Younique (Lima/Paris)—a clear sign that some Peruvian galleries are operating on the same international level as their global counterparts. This expansion into different continents or the organization of joint initiatives with other galleries is a trend increasingly visible across major art centers worldwide.

There was something for everyone—diverse tastes and budgets alike. Prices ranged from accessible graphic work for a few hundred dollars to high-end pieces. One standout was Quipus Rouge – 3 by Jorge Eduardo Eielson, presented by Galería Héctor La Rosa, which specializes in modern masters and early contemporary pioneers in the region. With an asking price in the six figures— one of the highest at the fair—it reflected the strong level of work being presented. Eielson, along with Emilio Rodríguez Larraín, Jorge Piqueras, Fernando de Szyszlo, and Alberto Guzmán, is part of the so-called “generation of the 50s,” key to understanding the development of modern art in Peru. On another note, David Herskovitz—an American artist who lived in Peru and became a fully integrated part of its art scene—stands out as a unique figure in this narrative. 2025 marks the centennial of the births of Piqueras, Szyszlo, and Herskovitz, adding further significance to their presence at the fair this year.

This dialogue between historic and contemporary artists is precisely one of the greatest strengths of fairs like Pinta Lima: they help place the present in context and trace a genealogy of today's art, offering deeper, more meaningful ways of understanding what we see in the galleries.

One of the things that struck me most was the widespread sense of enthusiasm: from the Lima galleries, all of which showed up in full force; from emerging projects eager to carve out a place for themselves; and from an engaged public—curious, keen to learn, to look, and to buy. Add to this an important international presence: collectors, curators, and art professionals from various countries, many of them invited through the fair’s solid VIP program, which combined visits to the fair with tours of artist studios, museums, and cultural spaces around the city. This offered international collectors a deep dive into the local context and contributed to the fair’s strong attendance: over 15,000 people visited, a testament to the growing interest in Lima’s art scene.

Equally crucial was the role of a strong core of Peruvian collectors, many of them closely connected to MALI (Lima Art Museum). Their ongoing support—not just of the museum, but also of the galleries and the fair itself—was evident in their presence, their acquisitions, and the knowledge they bring. This informed and committed local collecting base is a vital pillar in building a strong art scene capable of projecting itself both nationally and internationally.

The fair’s general curatorship was led by Irene Gelfman, who developed a program with a strong regional focus, spread across several sections—from the main one to more experimental formats such as RADAR, NEXT, and Video Project—and also included a well-deserved tribute to Peruvian artist Teresa Burga.

This year’s FORO was another highlight. Talks and presentations were packed, featuring key voices in shaping global curatorial discourse, such as Manuel Segade, director of the Museo Reina Sofía, and Pablo León de la Barra, Latin American curator at the Guggenheim. The presence of international museum representatives of this caliber not only brought perspective and rigor but also helped spotlight the strength of the current Peruvian art scene. Their participation showed how Pinta Lima is playing a role in bringing Peruvian art into global institutional conversations and positioning the fair as a relevant meeting point for curatorial thinking today. The program also featured art historian and collector Catherine Petitgas, along with local specialists who offered insightful reflections on the challenges and opportunities facing the art scene in Peru and in the region.

Commercial results reflected the fair’s vibrant atmosphere: according to organizers, sales were steady and accelerated toward the end, with a strong flow of artworks and participation from both private and institutional buyers, as well as new collectors. There was a real sense of serious collecting, both local and international—a clear sign of a maturing market. Awards were also announced, such as the EFG Latin America Art Award—which this year went to Ishmael Randall-Weeks—and, for the first time, the Audi/Pinta Lima Prize, focused on Peruvian visual arts, was launched.

Pinta Lima is no longer just a fair—it’s a must-attend event for anyone wanting to understand what’s happening in contemporary art in Peru today. A vibrant, diverse, and deeply enriching week.

The next edition of Pinta Lima is already scheduled: April 23–26, 2026, once again at Casa Prado.