ART BASEL MIAMI BEACH 2025

Miami Beach Convention Center, Booth G21

December 3–7, 2025

For the 2025 edition of Art Basel, Miami Beach, Petzel is pleased to present works by artists integral to the program, with established histories to the gallery, and new to its roster. Artists on view will include Ross Bleckner, Cosima von Bonin, Isabella Ducrot, Derek Fordjour, Nikita Gale, Stefanie Heinze, Charline von Heyl, Sean Landers, James Little, Allan McCollum, Rodney McMillian, Malcolm Morley, Jorge Pardo, Joyce Pensato, Seth Price, Pieter Schoolwerth, Tschabalala Self, Emily Mae Smith, Nicola Tyson, Grace Weaver, Emma Webster, Austin Martin White, Heimo Zobernig.

Highlights include both new and significant works by Ross Bleckner, Derek Fordjour, Stefanie Heinze, Sean Landers, Pieter Schoolwerth, Tschabalala Self, Emily Mae Smith, Grace Weaver, Emma Webster, and Austin Martin White, in addition to historical works by James Little, Allan McCollum, Malcolm Morley, and Joyce Pensato.

Ahead of her major retrospective at the Madre Museum in Naples in 2026 and following her solo exhibition with the gallery this summer, Isabella Ducrot presents a work, The Visited Land III, 2025, from her new series “The Visited Land,” which use meteorite pigments for the first time to develop a new relationship to the artist’s materials and the natural world.

Stefanie Heinze debuts a new diptych, Head between heels, as above so below: (Don’t mind me mindless Yous), 2025. The work is embedded with a sensation of motion, everything seemingly in flux yet perfectly set. As with all of Heinze’s paintings, the diptych originates from one of her small-scale drawings, its translation to canvas unfolding slowly over time. As it takes shape, the work settles into another posture: it’s not exactly head over heels; it’s the head between heels, resisting any hierarchy of being taken over. Encountered at this imposing scale, the work’s vibrant intensity can feel overwhelming. Heinze challenges the intensity of emotional experience: being swept off one’s feet can just as easily leave one in a state of limbo. The work holds this tension between longing and hesitation, between the desire to step fully into an overwhelming feeling and the impulse to remain just outside it. Her forms slip between the intimate and the cosmic, never settling, as if caught mid-fall or mid-flight.

Petzel presents a new lamp by artist Jorge Pardo concurrently with his solo exhibition at the gallery, on view until December 20, 2025. Cascading in clusters of color which draw upon both Monet’s Haystacks and Warhol’s Shadows, the resulting lightwork slices, abstracts and restructures the interior light of Monet and the exterior saturation of Warhol’s shadows onto laser-cut planes of painted acrylic sheeting. Pardo collapses the boundaries between lighting and sculpture, inviting multiple interpretations through his calibrated use of material, shadow, and color.

Coinciding with Joyce Pensato’s major retrospective at ICA Miami opening on December 2, 2025, Petzel presents several of her significant works at Art Basel, Miami Beach, including, Batman Mask, 2022, and Fuzzy Duckie, 2015. The two late works are emblematic of her baleful transmutation of American cartoon culture. Pulling from pop iconography, Pensato renders familiar cartoon subjects in smeared, urgent strokes that verge on collapse. The images hover between caricature and ruin, exposing the psychic charge beneath cultural mascots.

Tschabalala Self debuts two new paintings, Reverie and Red-headed, both 2025. Reverie depicts a woman sitting alone within a domestic space lost in thought. The molding, tiled floor, vase and floral element all denote the trappings of a comfortable home. The protagonist of the scene looks beyond such trappings as she burls deeper into her own thoughts. While Red-headed shows a spirited figure, with a red afro, lounging upon a yellow chaise. She flashes a mischievous smile, full of confidence, relaxed, happy, and carefree. Self will create a new sculpture for the New Museum’s façade, to be unveiled in early 2026.

A new work by Emily Mae Smith, The Locust, 2025, advances Smith’s iconic broom’s metamorphosis into a near-human form emerging from straw, the discarded made animate. The central figure holds a scythe, evoking themes of harvesting and gleaning, and appears with an avenging, confrontational presence that rejects the passive nude archetypes of 19th-century and Symbolist painting. Smith reimagines Jules Joseph Lefebvre’s 1872 painting La Cigale (“The Grasshopper”) through a darker lens. Naming her painting The Locust, she invokes the grasshopper’s more disruptive form, transforming the figure into one of agency, force, and impending change.

In Emma Webster’s new painting, Capriole, 2025, she constructs the scene from an uncanny vantage point positioning the viewer gazing upward at a levitating beast. This disorienting perspective generates a sense of danger and suspended catastrophe, as though the moment before impact has been indefinitely prolonged. For this work, Webster drew inspiration from Picasso’s bull paintings, from the arena’s drama, the setting sun, and the charged anticipation of being confronted head-on. The title, Capriole, references Austrian Lipizzaner horses and their famed dressage, whose balletic elegance belies origins in military training. Webster uses this duality to fuse grace and threat, performance and combat, deepening the tension within the work.

The works mentioned here will be on view at Petzel’s Booth G21 during Art Basel Miami Beach, December 3–7, 2025.