Lisson Gallery returns to Art Basel Miami Beach 2025 with a vibrant presentation that unites generations of artists whose practices expand the possibilities of material, perception, and abstraction. Together, works by Olga de Amaral, Tony Bechara, Tony Cragg, Dexter Dalwood, Carmen Herrera, Van Hanos, Leiko Ikemura, Oliver Lee Jackson, Anish Kapoor, Otobong Nkanga, Tony Oursler, Jack Pierson, Joyce Pensato. Dalton Paula, Sean Scully, Tatsuo Miyajima and Tunga create a dialogue that spans diverse techniques and approaches, showcasing a vivid exploration of how form, color, and material can be continually reimagined.
Read moreAnchoring the booth are a suite of textile-based works by Olga de Amaral, coinciding with the artist’s first solo exhibition in Los Angeles in almost a decade, currently on view at Lisson Gallery. Amaral’s practice, which spans more than sixty years, transforms fiber into luminous, spatial compositions that blur distinctions between craft and art. Moya C (2013) and Azure (2013) merge texture, color and metallic reflection to evoke Colombia’s natural and spiritual landscapes, while Nudo 25 (Magenta) (2015) monumentalizes the simple act of knotting into a sculptural meditation on structure, repetition and gravity.
A diamond-shaped painting by Carmen Herrera, Veridiano (2011), distills her lifelong pursuit of precision and balance. The work’s meeting of green and black fields recalls the compositional clarity of Herrera’s Days of the Week and Blanco y Verde series, emphasizing the geometric rigor that defined her practice. Complementing her disciplined restraint, Sean Scully’s Blue Lake (2025) envelops viewers in layers of gestural color and light, continuing the artist’s exploration of structure and emotion in painting. The work is presented alongside his current New York solo exhibition, Tower, on view through 24 January 2026.
A series of works by Anish Kapoor extends the artist’s meditation on material and metaphysical space. Untitled (2015), rendered in visceral, blood-like reds, acts as an exploration into the artist’s interest in the color and in blood as a ritual material. Nearby, the satin mirror work, Clear to Oriental Blue Satin (2025), transforms the viewer’s reflection into an infinite spatial field. The display coincides with the artist’s major institutional exhibition, Anish Kapoor: Early Works at the Jewish Museum in New York, and precedes a solo presentation at Lisson Gallery New York in February 2026. Also on display at the booth, Tony Cragg’s sculptural work, Masks (2021), demonstrates his ongoing engagement with transformation and perception. Carved in Portoro marble, two overlapping profiles emerge and dissolve into each other, creating an illusion of movement within stillness. The work’s fluid contours and reflective veining evoke Cragg’s fascination with energy and matter, themes that continue to drive his solo exhibition currently on view at Lisson Gallery London.
The presentation also features newly created works by artists that expand the dialogue between environment, language, and form. Otobong Nkanga’s tapestry Cadence – Outflow (2025) examines cycles of ecological fragility and regeneration, debuting in tandem with her solo exhibition I dreamt of you in colours at the Musée d’Art Moderne de Paris. Jack Pierson’s new word sculpture, THIS PERFECT MOMENT (2025) extends his exploration of language and longing, appearing alongside his solo exhibition, The Miami Years, at The Bass Museum of Art in Miami. Pedro Reyes presents a volcanic stone sculpture that bridges natural process and human intervention, while Masaomi Yasunaga’s ceramic vessels, formed from glazes, tiles and copper, similarly demonstrate his alchemical approach to material transformation, coinciding with his first major US museum exhibition at ICA Miami.
Further highlights include new and recent paintings by Oliver Lee Jackson, Tony Bechara, Dalton Paula, Joyce Pensato, Leiko Ikemura, and Van Hanos. Paula’s Gênese (2025), presented following his inaugural solo exhibition at Lisson, blends figuration and spirituality through the use of oil and silver leaf. This new body of work reclaims and re-centers Black childhoods as vital spaces of joy, memory, resilience, and cultural continuity. Pensato’s expressive compositions parallel her solo exhibition at ICA Miami, opening December 2, tracing the development of Pensato’s practice, providing a greater understanding of the artist’s context and the range of her powerful imagery. Ikemura’s paintings highlight the intimate relationship between human, animal, plant, and mineral forms and align with her major solo exhibition at the Albertina Museum in Vienna. Oliver Lee Jackson’s Untitled (3.18.25) (2025) displays energetic fields of abstract marks that occasionally coalesce into floating forms approaching figuration, while Bechara’s dynamic, color-saturated painting Untitled (2025) creates a pure field of physical perception.
Light-based installations by Tatsuo Miyajima and wall-based works by Tunga offer a contemplative counterpoint. In Miyajima’s Many Lives series, sequences of illuminated numbers symbolize the passage of individual and collective time—each rhythm a reflection of Seimei, the Japanese concept of life as interconnected existence. Tunga’s enigmatic compositions extend this dialogue into the poetic and the ritual, uniting scientific curiosity with sensual form.
