The Ultimate Art Market 2026 Report: Survive the Revolutionary Shift

Discover the radical 'Transvertical Shift', Neo-Deco trends, and vital wealth strategies. A definitive guide for collectors navigating the new geopolitical landscape.

Executive Summary: The Architecture of the Art Market 2026

En Art Market 2026 landscape finds itself not merely in a state of recovery, but in the throes of a profound structural metamorphosis. As the global economy crosses the threshold of January 17, the contraction of previous years has given way to a new reality defined by radical fragmentation and aggressive re-consolidation.

We have entered the era of the “Transvertical Market.” In the Art Market 2026, the distinct taxonomies of “Fine Art,” “Luxury Collectibles,” and “Digital Assets” have collapsed into a singular, fluid asset class. This shift is governed not by aesthetic theory, but by capital liquidity and geopolitical arbitrage.

The Wealth Divide and Fortress Mentalities

“Fortress America,” fortified by new tariffs, now stands in opposition to “Fortress Europe” and its regulatory walls. Consequently, capital is flowing to “Neutral Zones” like Seoul and the UAE to find safe harbor.

Financial Rewriting and Aesthetic Shifts

The financial infrastructure of the Art Market 2026 has been rewritten. The passage of the One Big Beautiful Bill Act (OBBBA) in the US has fundamentally altered intergenerational wealth transfer, stabilizing the supply of masterpieces. Simultaneously, India’s aggressive fiscal reforms are activating a massive domestic market.

Aesthetically, collectors are retreating into the tactile security de Neo-Deco. This trend serves as a psychological counterweight to the institutionalization of AI, symbolized by Refik Anadol’s Dataland.

This report provides an exhaustive analysis of these converging forces. We offer a granular roadmap for collectors and investors navigating the treacherous yet lucrative waters of the Art Market 2026.

Insider Note:
The “Velocity” Metric In the 2026 market, traditional “Expertise” is being replaced by “Liquidity Velocity.” Top collectors no longer ask “Who painted this?” first. They ask, “Can this asset cross borders?”

The highest value now lies in objects that are portable, digitally verifyable, and tariff-resistant—making physical size and provenance documentation the new gold standard.

The Transvertical Shift: Beyond Taxonomy

The Dissolution of Categories

The concept of “transverticality,” a term that has come to define the 2026 market, represents more than a diversification of assets; it is a fundamental restructuring of collector psychology. Sotheby’s CEO Charles Stewart signaled this shift as early as 2025, noting that the market was not shrinking but transforming.⁶

This ergonomic shift in the market is driven by the ascendancy of the “Digital Native” collector—Generations Y and Z—who now constitute a third of the buyer base at major houses.⁶ For this demographic, value is derived from the narrative velocity of an object rather than its medium. This was illustrated with clarity during Sotheby’s Origins in Diriyah sale, which curated a seamless offering of René Magritte surrealism, Banksy street art, Fernando Botero sculptures, and high-performance sports memorabilia.⁶ The success of such cross-category sales proves that the barriers between “Fine Art” and “Luxury” were artificial constructs of the 20th century, now obsolete.

The Bifurcation of Volume and Value

While the conceptual barriers fall, a stark financial divide has opened. The market has bifurcated into two distinct velocities: a high-volume, low-value base and a low-volume, high-value apex.

The Affordable Revolution:
The base of the market is witnessing an explosion of activity. Transactions for works priced under $5,000 have surged to historic highs, representing 85% of total global lots sold in the 2024/25 period.6 This segment, often dismissed as marginal, has become the primary engine of market liquidity.

The Prestige Contraction:
Conversely, the “Prestige” segment (works valued above $1 million) has entered a period of calculated scarcity. The number of auction results breaching the seven-figure threshold contracted by 29% in the last cycle.6 This is not a collapse of demand but a realignment of supply. Wealthy collectors, operating in a “K-shaped” economy where their assets continue to appreciate, have become discerning to the point of ruthlessness. The speculative frenzy for “wet paint”—works by ultra-contemporary artists with little secondary market history—has evaporated. Capital is now retreating to “meaningful” assets: rare, historical works with unimpeachable provenance. The days of automatic bidding wars for mid-tier works by star artists are over; boldness has been replaced by “rational discernment”.

The “Less is More” Operational Model

The frantic proliferation of art fairs has also hit a saturation point; the prediction for 2026 is “Less is More,” with a consolidation of the calendar and a focus on fairs that offer genuine regional distinctiveness rather than generic internationalism.⁷

The Geopolitics of Art: Fortress America vs. Fortress Europe

The most disruptive force in the 2026 art market is not aesthetic or technological, but political. The global art trade, which flourished under three decades of neoliberal free-trade policies, is now navigating a world of “Tariff Walls” and “Regulatory Fortresses.”

Fortress America: The Tariff Regime of the Second Trump Administration

The return of Donald Trump to the White House in 2025 initiated a neo-protectionist trade policy that has upended the economics of importing art into the United States. Utilizing the broad authorities granted by the International Emergency Economic Powers Act (IEEPA) y Section 301 of the Trade Act of 1974, the administration has reclassified art imports in a manner that treats culture as a luxury commodity subject to punitive taxation.⁸

The Reclassification Shock

Historically, original works of art entered the United States duty-free, a policy designed to encourage cultural exchange. This consensus was shattered in April 2025. The administration, viewing the trade deficit as a national emergency, imposed a blanket 10% to 20% tariff on imports from most trading partners, with specific escalations for China and the European Union.⁹

• The “Luxury” Tag: Art is no longer distinct from handbags or sports cars in the eyes of U.S. Customs. It is a “high-value luxury good.”
• The “Mixed Media” Trap: The enforcement of these tariffs has led to aggressive reclassifications by customs agents under pressure to maximize revenue. A painting that incorporates textiles or collage elements is now frequently flagged as “Manufactured Textile,” triggering protectionist duties intended to shield domestic garment manufacturers. Similarly, welded steel or bronze sculptures are being tagged as “Articles of Base Metal” (HS 7326), attracting tariffs as high as 25% to 35%.⁹

The Logistics of Isolationism

This tariff regime has destroyed the “DDP” (Delivered Duty Paid) model that underpinned the transatlantic art trade. Previously, galleries would absorb shipping and import costs to provide a seamless experience for American collectors. In late 2025, the industry consensus shifted violently to “Never Ship DDP”.9

Strategies of Evasion and Adaptation:

• Carnet Shipping: Galleries are increasingly utilizing ATA Carnets to ship works for “exhibition purposes only.” This allows the work to enter the US temporarily without paying duties, kicking the tax liability down the road. Sales are negotiated quietly, and the finalization of the transaction often occurs offshore.⁹
• “Suitcase Smuggling”: For smaller works, there has been a resurgence of “suitcase smuggling” via standard mail or personal luggage to evade customs scrutiny, a risky tactic that highlights the desperation of the mid-market.⁹
• Offshore Production: In a perverse twist on globalization, American artists are sending digital files to fabrication studios in Europe (e.g., Berlin). The physical artwork is produced within the EU and sold directly to European collectors, bypassing the US border entirely. The art becomes a purely financial asset that never touches American soil.⁹

Fortress Europe: The Paper Wall of Regulation 2019/880

While the United States builds walls of tariffs, the European Union has erected a fortress of bureaucracy. As of June 28, 2025, Regulation (EU) 2019/880 on the Introduction and Import of Cultural Goods is fully operational, enforced through the centralized Import of Cultural Goods (ICG) system.¹¹

The Licensing Mechanism

The regulation creates a binary system of compliance based on the age and type of the object:

• Part B (High Risk): This category includes archaeological objects more than 250 years old and elements of dismembered monuments. For these items, a full Import License is mandatory, regardless of value. The importer must prove lawful export from the country of origin, a task that often requires “regulatory archaeology” to find documentation for objects that left their source nations decades or centuries ago.¹³
• Part C (Medium Risk): This covers other cultural goods, such as paintings, manuscripts, and antiquities, that are more than 200 years old and valued above €18,000. These require an Importer Statement, a self-declaration of lawful origin submitted via the ICG system.¹²

The Market Freeze

Legal experts have described this regulation as a “wrench” thrown into the gears of the European art market.¹⁵ The burden of proof lies entirely with the importer, and the penalties for false declarations include criminal liability. This has created a climate of extreme caution.

• Impact on Fairs: Non-EU dealers attempting to exhibit at major European fairs like TEFAF Maastricht or BRAFA now face existential hurdles. They must secure licenses or submit statements antes de the goods can even cross the EU border. Delays in the ICG system can result in inventory being stuck in customs while the fair opens and closes.¹⁵
• The “General Prohibition”: Looming over all transactions is the “General Prohibition” (Part A), which allows for the seizure of any cultural good illicitly exported from its country of origin, regardless of when it entered the EU. This retroactivity has chilled the market for ancient art, as collectors fear confiscation of assets with imperfect paper trails.¹⁴

The Asian Pivot: Neutral Zones and Safe Havens

The simultaneous closure of American and European borders has created a hydraulic effect, forcing art and capital toward the path of least resistance: Asia.

• Seoul and Singapore: These cities have emerged as the primary beneficiaries of the trade war. Positioning themselves as “neutral zones” with low duties and stable regulatory environments, they are attracting Western galleries and collectors who wish to bypass the friction of US and EU jurisdictions. Seoul, in particular, is running at a market velocity of “120 kmph,” driven by Frieze Seoul and a robust domestic collector base.⁹
• The Decline of Hong Kong: Once the undisputed hub of the Asian art market, Hong Kong has been “dethroned.” Caught in the crossfire of US-China tensions and perceived political risk, it is losing ground to Singapore and Seoul as the preferred gateway for Western art into Asia.⁹
• China’s Resilience: despite a 20% drop in exports to the US due to tariffs, China has aggressively diversified its trade, boosting exports to the EU, Southeast Asia, and Africa. Its trade surplus has hit a record $1.2 trillion, ensuring that Chinese capital remains a dominant, albeit domestically focused, force in the global market.¹⁸

Financialization: The Fiscal Architecture of 2026

The financial underpinnings of the art market have been rewritten by major legislative acts in the US and India, creating new incentives and risks for high-net-worth individuals (HNWIs).

The “One Big Beautiful Bill” Act (OBBBA)

• Permanent Exemption Increase: The Act permanently raised the federal estate, gift, and generation-skipping transfer (GST) tax exemption to $15 million per person ($30 million for married couples), effective January 1, 2026.²¹
• Market Impact: This has removed the urgency for “use it or lose it” gifting strategies. In 2024 and 2025, the market saw a flood of supply as collectors liquidated assets or transferred them to trusts to beat the deadline. With the exemption now permanent and indexed for inflation, this pressure has evaporated. The immediate supply of “Death” (estate) masterpieces coming to auction in 2026 is expected to contract, as heirs no longer face an immediate tax imperative to sell collections to pay a 40% tax on assets above a lower threshold.²¹ This supply constraint will likely support high prices for the few masterpieces that do come to market.

Opportunity Zones and SALT

The OBBBA also made Opportunity Zones (OZ) permanent, tightening eligibility but securing a tax-advantaged vehicle that many collectors use for art storage and gallery real estate investment.² Additionally, the cap on State and Local Tax (SALT) deductions was raised to $40,000 for high earners, providing modest relief to collectors in high-tax states like New York and California, traditional hubs of the art market.²

India’s Fiscal Renaissance: The 5% GST Catalyst

While the West focuses on estate taxes, the Global South is witnessing a fiscal revolution. Effective September 22, 2025, the Indian government rationalized its Goods and Services Tax (GST) regime, slashing the rate on art and cultural goods from 12% to 5%.³

Democratizing the Market

This policy shift is more than a tax cut; it is a market-making event.

• Price Accessibility: The reduction lowers the acquisition cost of original art, making it competitive with mass-produced decor. This is expected to bring a vast segment of “grey market” cash transactions into the formal “white” economy, increasing transparency and confidence.²³
• Corporate and Interior Demand: Architects and interior designers, previously deterred by the 12% markup, are now incentivized to specify original Indian art for large-scale projects. This aligns with a broader economic boom in India, where GDP growth is projected at 7.4% for FY 2025-26 ²⁴, creating a newly affluent middle class eager for cultural assets.
• Gem & Jewellery Sector: The reforms extend to the luxury sector, with the Gem & Jewellery Export Promotion Council (GJEPC) pushing for further duty cuts to combat high US tariffs. The focus is on making India a global hub for platinum and high-end gold jewellery manufacturing, positioning it as a direct competitor to Italy and China.²⁵

Shadow Banking and Liquidity Risks

Beneath the surface of these positive developments lies a systemic risk: the “Shadow Banking” sector. A report from the UK House of Lords has highlighted the Treasury’s “limited grasp” of the risks posed by the $16 trillion non-bank financial sector.²⁶

• Art-Secured Lending: The art lending market is heavily entangled with private credit and private equity firms. These unregulated entities provide the liquidity that allows collectors to leverage their collections. A downturn in the private credit sector—triggered by rising default rates or a liquidity crunch—could force the liquidation of pledged art assets, flooding the market with distressed inventory. This “financialization” of art means that the market is now exposed to systemic risks far removed from the gallery floor.²⁶

Insider Strategy:
The “Shadow” Liquidation Opportunity The report warns of a liquidity crunch in the $16T shadow banking sector. Smart Money Move: Cash buyers should prepare for a wave of “Lender-Forced” sales in late 2026. Unlike traditional auction cycles, these sales happen quietly and fast.

How to spot them:
Look for high-value works appearing suddenly on the private market at 20-30% below estimate with a demand for “immediate payment.” These are often collateral seizures. Keep liquidity ready to swoop in.

LVMH: The Decentralized Cultural Behemoth

LVMH continues to dominate the “Transvertical” landscape through a strategy of decentralized autonomy. Rather than imposing a monolithic corporate aesthetic, LVMH encourages its 75 “Maisons” to act as independent cultural patrons.²⁷

• Scarcity and Heritage: LVMH’s 2026 strategy focuses on “protecting scarcity” and leveraging heritage. This is exemplified by the Louis Vuitton Art Deco exhibition, a century-spanning showcase that connects the Maison’s 1925 roots to contemporary “Neo-Deco” trends. By framing its products as historical artifacts alongside fine art, LVMH reinforces the investment value of its luxury goods.²⁸
• Q3 Recovery: After a period of stagnation, LVMH posted a strong Q3 in 2025, signaling a return of “visible consumption.” This rebound suggests that the ultra-wealthy are ready to spend again, provided the assets offered—whether handbags or art—are positioned as “investment pieces” with enduring value.²⁹

Kering: Creativity as Legacy

Kering, facing stronger headwinds than its rival, has doubled down on a strategy of “Creativity is our Legacy.” At the China International Import Expo (CIIE), Kering positioned its pavilion not as a retail space but as an immersive art environment, blending heritage with innovation.³⁰

• The Struggle for Definition: Unlike LVMH’s broad portfolio, Kering is heavily reliant on Gucci and Saint Laurent. Its strategy involves elevating these brands through direct association with high art and “haute couture credibility.” However, with revenues dipping, Kering faces a “Great Separation” where it must choose between volume and the extreme value proposition required to survive in the 2026 luxury landscape.³¹

Aura Blockchain and the Digital Product Passport (DPP)

The most significant technological convergence between art and luxury is the Aura Blockchain Consortium, founded by LVMH, Prada, and Cartier. In 2026, Aura is rolling out the next generation of Digital Product Passports (DPP).³²

• Immutable Provenance: Brands like Another Tomorrow y Tod’s are launching collections where every item has a blockchain-anchored identity accessible via NFC chips. This technology is rapidly migrating to the fine art market. In an era of strict EU import regulations, a blockchain-verified history of ownership (provenance) is becoming a prerequisite for liquidity. The DPP serves as a “digital twin” that travels with the artwork or luxury item, resolving the “regulatory archaeology” problems posed by EU Regulation 2019/880.³⁴

Aesthetic Trends 2026: The Neo-Deco Reaction

The aesthetic character of 2026 is defined by a dialectic tension: a retreat into the physical weight of Neo-Deco and an expansion into the immateriality of Data Art.

Neo-Deco: The Sanctuary of Weight

After a decade of “Apple Store minimalism” and “Greige” interiors, the pendulum has swung violently toward Neo-Deco. This trend is not a pastiche of the 1920s but a “moodier, sleeker” evolution tailored for a world in crisis.³⁵

Dataland and the Institutionalization of AI

While the home becomes a fortress of heavy materials, the public art sphere is embracing the digital. Spring 2026 marks the opening of Dataland in Los Angeles, the world’s first museum dedicated entirely to AI arts, founded by Refik Anadol.⁵

• AI in the Market: Despite ethical controversies and petitions against “Augmented Intelligence” sales, AI art has found a stable market niche. Works by entities like Ai-Da Robot (whose portrait of Alan Turing sold for over $1 million) and Anadol are being collected not as curiosities but as canonical contemporary art.⁶ The opening of Dataland at The Grand LA (designed by Frank Gehry) cements AI art’s transition from speculative NFT fad to institutional pillar.

Japanese Ultra-Contemporary: The New “Wet Paint”

With the Chinese market cooling due to the trade war and economic slowdown, global speculative capital has pivoted to the Japanese Ultra-Contemporary scene.⁶

Latin America: A Resurgent Voice

The Latin American market is experiencing a renaissance, driven by the 2024 Venice Biennale’s focus on the Global South.

• SP-Arte & Este Arte: Brazil’s SP-Arte and Uruguay’s boutique fair Este Arte are thriving, drawing international collectors to the region. The market here is resilient, buoyed by a strong local collector base that views art as a hedge against currency inflation.³⁶
• Cuban Art: Cuban art is identified as a high-growth sector, “undervalued” relative to its quality and institutional recognition. Artists like Roberto Fabelo y Yoan Capote are seeing rising auction records, positioned as “established art at emerging prices”.³⁸

Insider Strategy:
Follow the “WANASA” Money The Guggenheim Abu Dhabi is explicitly aggressively collecting WANASA (West Asia, North Africa, South Asia) artists to fill its massive halls. Investor Move: This is a verified institutional signal.

Look for “Blue Chip” Modernists from these regions (e.g., Sudan, Morocco, Pakistan) who are currently undervalued compared to their Western peers. When a major museum validates a region, price correction follows within 24 months.

Venice Biennale 2026: “In Minor Keys”

The 61st Venice Biennale, opening May 9, 2026, will be a somber and poetic affair. Titled “In Minor Keys,” it will realize the vision of the late curator Koyo Kouoh.⁴² The theme emphasizes subtlety, the “unheroic,” and the sensory dimensions of art.⁴³ This curatorial direction aligns with the broader market shift toward “rational discernment” and “Less is More,” rejecting the bombast of the past decade.

Conclusion: The Archipelago of 2026

The art market of 2026 is no longer a single, globalized village. It has fractured into an archipelago of fortified islands—Fortress America, Fortress Europe, and the Fortress of the Ultra-Wealthy—connected by tenuous bridges of “neutral” trade zones and digital infrastructure.

Success in this environment requires a new set of skills. It is no longer enough to have a “good eye.” The collector and investor of 2026 must also be a master of logistics, navigating tariff codes and import licenses with the same dexterity they apply to auction catalogs. They must leverage the “One Big Beautiful Bill” for estate planning while utilizing “Carnet” shipping to dodge trade wars. They must balance the physical comfort of “Neo-Deco” sanctuaries with the intellectual challenge of AI art.

The market has not died; it has hardened. It is smaller in volume of hype, but denser in value. It is a market where the middle has fallen out, leaving a landscape of peaks and valleys, accessible only to those with the capital to climb and the knowledge to navigate the terrain.

The 2026 Geopolitical Art Matrix

Region	Key Driver	Policy Mechanism	Market Impact	Strategic Response
Estados Unidos	Protectionism	Tariffs (20-25%), IEEPA, Section 301	High cost of import; “Mixed Media” tax traps.	Carnet shipping; Offshore production/storage; Domestic buying.
European Union	Regulation	Reg (EU) 2019/880; ICG System	Strict licensing for antiques/archaeology.	Provenance audits (“Regulatory Archaeology”); Market chill for ancient art.
India	Liberalization	GST Cut (12% $\to$ 5%)	Lower acquisition costs; Formalization of market.	Surge in domestic collecting; Corporate collections.
South Korea	Neutrality	Free Trade Zones; Frieze Seoul	Safe haven for cross-border trade.	Hub for US-China displaced inventory; Growth of “Ultra-Contemporary”.
UAE	Institution Building	Guggenheim Abu Dhabi Opening	WANASA Collection Strategy.	Regional market catalyst; Re-writing the canon.

2026 Asset Class Performance Forecast

Asset Class	Trend	Primary Driver	Outlook
Blue Chip (> $10M)	🟢 Stable/Rising	OBBBA Estate Tax Exemption; Scarcity.	Safe haven capital; Low supply due to lack of forced sales.
Mid-Market ($50k-$500k)	🔴 Challenged	Tariffs; Shipping friction; Middle-class squeeze.	“Hollowing out”; Domestic-only trading.
Japanese Ultra-Contemp.	🟢 Booming	Shift of capital from China; Mega-gallery backing.	High growth; Speculative interest.
Neo-Deco Design	🟢 Surging	Psychological need for comfort/sanctuary.	High demand for vintage & contemporary design.
Old Masters / Antiquities	🟠 Slow	EU Import Licensing (Reg 2019/880).	Compliance delays; Risk aversion.
Digital Art / AI	🟡 Institutionalizing	Dataland opening; Blockchain provenance.	Transition from speculation to canonization.

Works cited

1. In a ‘K-shaped’ economy, the art market’s recovery could rely on the …, accessed on January 15, 2026, https://www.theartnewspaper.com/2026/01/06/in-a-k-shaped-economy-the-art-markets-recovery-could-rely-on-the-super-rich
2. Trump’s ‘One Big Beautiful Bill’: Major Tax Changes for 2025-2026, accessed on January 15, 2026, https://www.hollandhart.com/trumps-one-big-beautiful-bill-major-tax-changes-for-2025-2026
3. GST rate cut from 12% to 5% poised to brighten India’s art landscape, accessed on January 15, 2026, https://www.ibef.org/news/gst-rate-cut-from-12-to-5-poised-to-brighten-india-s-art-landscape
4. Neo-Deco 2026: The Return of Glamour (But Make It Matte), accessed on January 15, 2026, https://avianlifestyle.com/blogs/blog/neo-deco-2026-the-return-of-glamour-but-make-it-matte
5. The Most Anticipated Art Museum Openings and Expansions of 2026, accessed on January 15, 2026, https://observer.com/list/the-most-anticipated-art-museum-openings-and-expansions-of-2026/
6. the-contemporary-art-market-report-2025 (1).pdf
7. Art market 2026 predictions: underwhelming rebound and another …, accessed on January 15, 2026, https://www.theartnewspaper.com/2025/12/31/predicting-art-market-trends-2026-underwhelming-rebound-and-another-frieze-fair
8. Presidential 2025 Tariff Actions: Timeline and Status | Congress.gov, accessed on January 15, 2026, https://www.congress.gov/crs-product/R48549
9. Art & Tariffs: Navigating the 2026 Trade War for Artists, accessed on January 15, 2026, https://executemagazine.com/art-tariffs-navigating-the-2026-trade-war-for-artists/
10. Tariffs and the Art World: What is going on? – Fieldfisher, accessed on January 15, 2026, https://www.fieldfisher.com/en/insights/tariffs-and-the-art-world-what-is-going-on
11. Regulation – 2019/880 – EN – EUR-Lex – European Union, accessed on January 15, 2026, https://eur-lex.europa.eu/eli/reg/2019/880/oj/eng
12. New Import Controls on Cultural Goods – Effective 28th June 2025, accessed on January 15, 2026, https://mtca.gov.mt/news-results-page/2025/06/30/new-import-controls-on-cultural-goods—effective-28th-june-2025
13. EU introduces new import controls of cultural goods | Access2Markets, accessed on January 15, 2026, https://trade.ec.europa.eu/access-to-markets/en/news/eu-introduces-new-import-controls-cultural-goods
14. EU Regulation 2019/880 on the importation of cultural goods, accessed on January 15, 2026, https://www.fieldfisher.com/en/insights/eu-regulation-2019-880-on-the-importation-of-cultural-goods-the-eu-commission-q-and-a-part-2
15. a legal expert’s view on upcoming changes to EU import law, accessed on January 15, 2026, https://www.theartnewspaper.com/2025/06/03/about-to-throw-a-wrench-in-the-market-a-legal-experts-view-on-upcoming-changes-to-eu-import-law
16. Rising costs and regulatory challenges for art dealers – WTW, accessed on January 15, 2026, https://www.wtwco.com/en-hk/insights/2025/12/fine-art-and-antiquities-rising-costs-and-regulatory-challenges-for-art-dealers
17. The Intertwined Paths of Korean and Japanese Art – Frieze, accessed on January 15, 2026, https://www.frieze.com/article/intertwined-paths-korean-japanese-art-frieze-week-magaine-seoul-2025
18. Trump who? At $1.2 trillion, China’s trade surplus hits new high in 2025 despite US tariffs, accessed on January 15, 2026, https://timesofindia.indiatimes.com/business/international-business/xi-jinping-delivers-a-1-2-trillion-rebuff-to-donald-trump-china-exports-his-record-high-in-2025/articleshow/126521346.cms
19. China’s trade surplus surges 20% to a record $1.2 trillion, even with Trump’s tariffs, accessed on January 15, 2026, https://apnews.com/article/china-economy-trade-surplus-record-59f6fcc80ee3afc204a024f57766d319
20. One Big Beautiful Bill Act – Wikipedia, accessed on January 15, 2026, https://en.wikipedia.org/wiki/One_Big_Beautiful_Bill_Act
21. How will the One Big Beautiful Bill impact your gift and estate taxes?, accessed on January 15, 2026, https://www.withersworldwide.com/en-gb/insight/read/how-will-the-one-big-beautiful-bill-impact-your-gift-and-estate-taxes
22. After the One Big Beautiful Bill: Estate Tax Updates, accessed on January 15, 2026, https://www.dglaw.com/after-the-one-big-beautiful-bill-estate-tax-updates/
23. How India’s New 5% GST Slab benefits the Art Ecosystem, accessed on January 15, 2026, https://mazdaart.com/blog/f/how-india%E2%80%99s-new-5%25-gst-slab-benefits-the-art-ecosystem
24. Robust economy! India’s GDP growth projected at 7.4% in FY26 – government releases first advanced estimates, accessed on January 15, 2026, https://timesofindia.indiatimes.com/business/india-business/robust-economy-indias-gdp-growth-projected-at-7-4-in-fy26-government-releases-first-advanced-estimates/articleshow/126390294.cms
25. Budget 2026: GJEPC seeks duty cuts and policy reforms to boost gem and jewellery exports, accessed on January 15, 2026, https://m.economictimes.com/industry/cons-products/fashion-/-cosmetics-/-jewellery/budget-2026-gjepc-seeks-duty-cuts-and-policy-reforms-to-boost-gem-and-jewellery-exports/articleshow/126522861.cms
26. Treasury has ‘limited grasp’ of concerns over booming shadow banking sector, peers say, accessed on January 15, 2026, https://www.theguardian.com/business/2026/jan/09/treasury-concerns-shadow-banking-sector-peers
27. The Strategy and Competitor Analysis of LVMH – ResearchGate, accessed on January 15, 2026, https://www.researchgate.net/publication/369690883_The_Strategy_and_Competitor_Analysis_of_LVMH
28. Louis Vuitton reveals Louis Vuitton Art Déco exhibition – LVMH, accessed on January 15, 2026, https://www.lvmh.com/en/news-lvmh/louis-vuitton-reveals-louis-vuitton-art-deco-exhibition
29. Luxury Stocks Rally: Signs of Market Recovery – Social Life Magazine, accessed on January 15, 2026, https://sociallifemagazine.com/the-archive/luxury-stocks-rally-lvmh-q3-nyc-hamptons-2026/
30. PRESS RELEASE November 5, 2025 KERING ATTENDS THE 8TH …, accessed on January 15, 2026, https://www.kering.com/api/download-file/?path=Press_Release_KERING_ATTENDS_THE_8_TH_CIIE_WITH_CREATIONS_EMBODYING_ITS_CREATIVITY_IS_OUR_LEGACY_SIGNATURE_d6b0683433.pdf
31. The luxury market will lose the middle ground in 2026, accessed on January 15, 2026, https://www.luxurydaily.com/luxury-unfiltered-the-luxury-market-will-lose-the-middle-ground-in-2026/
32. Another Tomorrow Joins Aura: Blockchain for Luxury Transparency, accessed on January 15, 2026, https://auraconsortium.com/news/another-tomorrow-joins-aura-consortium
33. Aura Blockchain Consortium | Department of Economic and Social …, accessed on January 15, 2026, https://sdgs.un.org/partnerships/aura-blockchain-consortium
34. Embracing Digital Product Passport as a regulatory requirement, accessed on January 15, 2026, https://www.deloitte.com/ch/en/Industries/consumer/analysis/embracing-digital-product-passport-regulatory-requirement.html
35. Neo Deco: The Art Deco Revival Set to Shape 2026 – Atelier 44, accessed on January 15, 2026, https://www.atelier44.co.uk/post/neo-deco-the-art-deco-revival-set-to-shape-2026
36. SP–Arte 2025 Sales Report: Brazilian Art Market Faces the Future …, accessed on January 15, 2026, https://sophiesuartadvisory.com/sp-arte-2025-sales-report-brazilian-art-market-faces-the-future-with-resilience-2/
37. How Este Arte Turned a José Ignacio into a Hub for Latin American Art, accessed on January 15, 2026, https://observer.com/2026/01/how-a-small-uruguayan-town-became-a-seasonal-hub-for-latin-american-art/
38. Latin American art surges after the 2024 Venice Biennale, accessed on January 15, 2026, https://splintinvest.com/en/blog/latin-american-art/
39. Guggenheim Abu Dhabi – Wikipedia, accessed on January 15, 2026, https://en.wikipedia.org/wiki/Guggenheim_Abu_Dhabi
40. guggenheim – Department of Culture and Tourism Abu Dhabi, accessed on January 15, 2026, https://dct.gov.ae/en/what.we.do/culture/museums/guggenheim.aspx
41. Pollock, Rothko, Warhol and Basquiat: First details of Guggenheim …, accessed on January 15, 2026, https://www.thenationalnews.com/arts-culture/art-design/2025/11/21/first-details-of-guggenheim-abu-dhabis-collection-global-museum/
42. Venice Biennale 2026 will follow late curator Koyo Kouoh’s vision, accessed on January 15, 2026, https://www.theartnewspaper.com/2025/05/27/everything-you-will-see-is-the-fruit-of-her-work-venice-biennale-2026-will-follow-late-curator-koyo-kouohs-vision
43. The Most Anticipated Exhibitions of 2026 Part II – Whitewall.art, accessed on January 15, 2026, https://whitewall.art/art/most-anticipated-exhibitions-of-2026-part-ii/