Thomas Houseago

British b. 1972 Egon Score: 58.1

Value

#90

Egon investment scores

Liquidity

5/10

How easily works can be bought and sold at auction

Institutional

8/10

Museum collections, biennials, and institutional recognition

Momentum

6/10

Recent price trends, gallery moves, and market buzz

Market position

Auction record in Egon’s database

$125,349

Astronaut No. 1

Christie's, June 2026

Highest result in Egon’s own auction database — sales at Christie’s, Sotheby’s, Phillips and Bonhams from 2025 onward; coverage is not exhaustive and earlier records may exceed it.

Pricing

By Work Type

Works on Paper / Face Studies: $8,000-$40,000 at auction
Mid-scale Unique Plaster/tuf-cal Figures: $100,000-$250,000
Paintings (visions / Antiamnesia, 274 X 183 Cm): Auction high ~$155,000; primary pricing not disclosed
Monumental Bronze/redwood Figures (primary Market): Three editions of monumental owl sculptures sold at $550,000 each at Xavier Hufkens, Art Basel 2026
Masks, Heads and Wall Reliefs (bronze/plaster, Unique or Editioned): $30,000-$130,000 at auction - the most liquid segment

Editions Note

Pricing above covers unique works and small bronze editions; the artist has no significant print/multiple market driving volume.

Temporal Context

2024-2026 (current): Auction band $10,965-$125,349, trailing sculpture average ~$79,000; monumental primary-market editions at $550,000
2015-2019 (peak Cycle): Major plasters and bronzes traded roughly $150,000 to the $462,286 record (Sotheby's London 2019); works on paper $10,000-$40,000
2020-2023 (post-peak Reset): Sculpture largely $30,000-$200,000; paintings entered the market with a high near $155,000

Primary Market Access

Gallery-controlled. Contact Xavier Hufkens (Brussels), Gagosian, or Levy Gorvy Dayan (New York/London) for current pricing; most gallery and fair sales are reported as 'price not disclosed' apart from the $550,000 Art Basel 2026 owl editions.

Primary vs Secondary Gap

Wide: monumental primary works at $550,000 versus a 2025-26 auction average near $68,000 - the secondary market is thin at the top end rather than weak in demand, a classic gallery-controlled structure.

Liquidity

Geography: New York, London, Paris (Artcurial) and Belgium (De Vuyst); collector base strongest in the US, Belgium/France and increasingly Asia
Market Depth: Deep in the $20,000-$130,000 band (masks, reliefs, works on paper); shallow above $200,000, where supply is absorbed by galleries and private collections
Sell Through: 89% on Egon-tracked 2025-26 lots
Annual Volume: ~10-15 lots per year across all houses; 11 lots at Christie's/Sotheby's/Phillips/Bonhams in the 2025-mid-2026 window

Collector Base

Profile: Museum-adjacent mega-collectors plus a celebrity/cultural network (Brad Pitt, Nick Cave) broadening visibility; Paul-Emmanuel Reiffers as patron via the 2026 mentorship
Demand Pattern: Steady demand for masks, heads and drawings; monumental works absorbed at the primary level by collections with sculpture-park capacity
Private Collections: Rubell Family Collection (patronage since the 2006 commission; acquisitions in 2009, 2021 and 2025, plus the museum's first single-artist survey), Pinault Collection (Palazzo Grassi 2011; Punta della Dogana 2013), Zabludowicz Collection (sculpture garden holdings alongside Oscar Tuazon and Danh Vo), Emmanuel de Bayser collection (deaccessioned at auction)

Auction History

Record

$462,286 for 'WALKING MAN', Sotheby's London, 2019 - the artist's benchmark auction result (MutualArt)

Record by Medium

Painting: $154,956
Sculpture: $462,286 (2019)

Total Lots Offered

~224 works recorded at auction (MutualArt), i.e. roughly 12-15 lots per year since c.2008

Notable Historic Lots

'Venice Head I' (Tuf-Cal, hemp, iron rebar, 2010-11, unique), Sotheby's, May 2023
'Untitled (Walking Man)' (painted plaster, hemp, wood, iron rebar), Christie's, Nov 2022
'Mask II' and 'Construction Mask II' (bronze, black patina), Christie's, 2022
'Untitled (Viper Mask)', 2008, bronze ed. 4/5, offered from the Emmanuel de Bayser collection
'Wood Mask (Owl)', 2008, oil stick and graphite on found wood, Christie's
'Face Study (Discussion I)', 2017, work on paper, Heritage Auctions, Nov 2022 (Gagosian provenance)

Bought in and Softness

3 of 11 Egon-tracked lots did not sell; at least one result fell below low estimate (Untitled, Phillips, Sep 2025). Demand is selective and concentrated on strong-format masks, heads and named sculptures.

Egon Database 2025 2026

High

$125,349

Lots

Sold

Range

$10,965 - $125,349

Sell Through

89%

Average Hammer

$67,587

Recent Results

Date: Jun 2026
Work: Astronaut No. 1 (tuf-cal, wood, hemp, iron rebar, graphite, 218 x 239 x 132 cm)
Price: $125,349
Venue: Christie's
Outcome: Sold above high estimate

Date: May 2026
Work: Portrait (Sleeper)
Price: $48,640
Venue: Sotheby's
Outcome: Sold

Date: Oct 2025
Work: Face in Movement 1
Price: $102,996
Venue: Phillips
Outcome: Sold

Date: Oct 2025
Work: Construction
Price: $34,332
Venue: Phillips
Outcome: Sold

Date: Sep 2025
Work: Untitled
Price: $10,965
Venue: Phillips
Outcome: Sold below estimate

Estimate Bands Observed 2025 2026

Christie's/Sotheby's/Phillips estimates cluster at $25,000-$80,000 (US) and GBP 15,000-70,000 (London); Artcurial and De Vuyst offering works at EUR 22,000-40,000. One Sotheby's lot carried a $500,000-$1,000,000 estimate band in an aggregator index - unverified as to work and outcome, flagged as uncorroborated.

Trailing 12 Month Average Sculpture

$78,728 (MutualArt, 2026)

Market Position

Segment

Post-war and contemporary sculpture; internationally established mid-career artist with a mature but currently under-priced secondary market

Assessment

Institutional validation materially outruns current auction pricing. The 2019 record has not been re-tested since, while primary pricing for monumental works has risen to $550,000 - an unusual and typically value-accretive divergence.

Peer Comparables

Huma Bhabha - comparable raw figurative sculpture, similar auction band
Thomas Schutte - cited influence trading materially higher (multi-million), indicating headroom for a sculptor with comparable institutional depth
Aaron Curry - LA contemporary, lower auction band
Sterling Ruby - LA contemporary, broader market and higher records
Ugo Rondinone - comparable public-sculpture/institutional profile and a prior Reiffers mentor

Investment Outlook

Risks: Scale and logistics of major works limit the buyer pool; the record is seven years old; the painting output is newer and less market-tested; concentrated gallery supply caps secondary discovery
Outlook: Constructive. Strong fundamentals with pricing that lags institutional standing - a value-recovery profile rather than a momentum trade.
Catalysts: Rubell Museum survey (2025-26), Hirshhorn group exhibition through Nov 2026, Levy Gorvy Dayan London show (Jun-Sep 2026), Banca March Madrid outdoor show, and the Reiffers/Art Basel Paris duo exhibition in October 2026 - an unusually dense validation calendar
Trajectory: Auction pricing peaked in 2019, corrected 2020-2024, and stabilised in 2025-26 with an above-estimate result for strong material (Astronaut No. 1, Christie's, Jun 2026)

Institutional presence

Exhibitions

Significant Group

Whitney Biennial, New York (2010) - 'Baby', 2009-10
'The Artist's Museum', MOCA Los Angeles (2010)
'The World Belongs to You', Palazzo Grassi, Venice (2011)
'Eloge du Doute', Punta della Dogana, Venice (2013)
'There's a Crack in Everything, That's How the Light Gets In', Contemporary Fine Arts, Berlin (2009)
Group exhibition, Hirshhorn Museum and Sculpture Garden, Washington DC (17 Jan - 29 Nov 2026)

Upcoming Current 2026

'Journey', Xavier Hufkens, Brussels (5 Mar - 30 Apr/2 May 2026) - 30-year gallery anniversary survey including 'Cosmic Snail (Shell Temple)' (2025) and 'Giant Striding Figure (Van Gogh on the Road to Arles)' (2025)
'Death's Sacred Mirror', Levy Gorvy Dayan, London (4 Jun - 19 Sep 2026) - artist-curated cabinet of curiosities pairing new sculpture with Egyptian, Greek and Aztec artefacts and works by Beuys, Bourgeois, Epstein, Fontana, Gaudier-Brzeska, Lipchitz, Matisse, Marisa Merz, Oppenheim and Uecker; anchored by a new edition of 'Crystal No. 1' (2026)
Reiffers Initiatives 2026 duo exhibition with Theo Mercier during Art Basel Paris, October 2026
Hirshhorn Museum group exhibition through 29 Nov 2026

Solo Museum and Institutional

Stedelijk Museum Bureau, Amsterdam (1996)
'I Am Here, Selected Sculptures 1995-2003', S.M.A.K., Ghent (2003)
'A Million Miles Away', Modern Institute, Glasgow (2007)
'What Went Down', Modern Art Oxford and Ashmolean Museum (2010), travelling to Museum Abteiberg, Monchengladbach and Centre International d'Art et du Paysage de l'Ile de Vassiviere (through 2011)
Amy Bessone and Thomas Houseago, Rennie Museum, Vancouver (2010)
'Beat of the Show', Inverleith House, Edinburgh (2011)
'Where the Wild Things Are' and 'Hermaphrodite', Sainsbury Centre for Visual Arts, Norwich (2012)
Rockefeller Plaza, New York (2015)
'As I Went Out One Morning', Storm King Art Center (2015)
Le Consortium, Dijon (2015-2016)
Mid-career retrospective, Musee d'Art Moderne de la Ville de Paris (2019)
Royal Academy courtyard commission, London (2019)
Royal Museums of Fine Arts of Belgium, Brussels (2021)
'WE with Nick Cave and Brad Pitt', Sara Hilden Art Museum, Tampere (2022) - first institutional solo in Finland
Centre Pompidou-Metz (2022)
TANK Shanghai (2023)
'Thomas Houseago: First Light', Rubell Museum, Miami (Dec 2025-2026) - the museum's first single-artist survey, 20+ works across seven galleries
'Sculptures', Banca March Garden, Madrid (from 1 May 2026) - first exhibition in Spain, six large-scale outdoor works

Publications

Painting-focused monograph published for the 2019 Musee d'Art Moderne de la Ville de Paris exhibition, with the artist's journals and a text by Nick Cave (hardcover, 312 pp., D.A.P. distribution)
Exhibition catalogues from Modern Art Oxford/Ashmolean (2010), Storm King (2015) and Sara Hilden (2022)
No catalogue raisonne identified

Museum Collections

Institution	Tier
Smithsonian Institution (incl. Hirshhorn Museum and Sculpture Garden), Washington DC	Tier 1
Los Angeles County Museum of Art (LACMA)	Tier 1
Stedelijk Museum, Amsterdam	Tier 1
Museum of Contemporary Art Chicago (MCA)	Tier 1
Nasher Sculpture Center, Dallas	Tier 1 (sculpture specialist)
S.M.A.K., Ghent	Tier 2
Kunstmuseum Den Haag	Tier 2
Long Museum, Shanghai	Tier 2 (Asia)
Rubell Museum, Miami	Tier 1 private museum
Pinault Collection	Tier 1 private collection
Zabludowicz Collection, London	Tier 2 private collection
Sara Hilden Art Museum, Tampere	Tier 2 (exhibited; works made in response to the collection)

Awards and Recognition

Note

No formal prize or fellowship record identified; recognition is exhibition- and institution-based.

Honors

Whitney Biennial selection (2010)
First non-Academician invited to fill the Royal Academy courtyard, London (2019)
Selected as Reiffers Initiatives 2026 mentor, mentoring Theo Mercier - a role previously held by figures including Ugo Rondinone
Subject of the Rubell Museum's first-ever single-artist survey (2025)

Career & Biography

Identity

Gender: Male
Partner: Muna El Fituri, art therapist and photographer
Full Name: Thomas Houseago
Known for: Large-scale figurative sculpture in plaster (Tuf-Cal), hemp, iron rebar, redwood, bronze and aluminium; since c.2019 also large-scale expressionist painting
Birth Year: 1972
Birthplace: Leeds, West Yorkshire, England, UK
Nationality: British; also holds American citizenship
Current Location: Los Angeles, California, USA (studio and residence since 2003/2004)

Career Timeline

Year	Event
1996	Early institutional showing at Stedelijk Museum Bureau, Amsterdam
1998	First solo exhibition with Xavier Hufkens, Brussels - start of a collaboration now spanning ~30 years
c.1996-2003	Based in Brussels ~8 years; S.M.A.K. Ghent solo 'I Am Here, Selected Sculptures 1995-2003' (2003)
2003/2004	Relocated to Los Angeles
2006	Rubell Family Collection commissions eight plaster figures for 'Red Eye'
2007-2008	'A Million Miles Away', Modern Institute Glasgow; first US solo 'Serpent', David Kordansky Gallery, Culver City
2010	Breakthrough: 'Baby' (2009-10) in the Whitney Biennial; first major museum solo 'What Went Down' (Modern Art Oxford / Ashmolean, travelling to Museum Abteiberg and Ile de Vassivière); 'The Artist's Museum', MOCA LA
2011-2013	Pinault Collection exposure - Palazzo Grassi (2011) and 'Eloge du Doute', Punta della Dogana (2013)
2015	Rockefeller Plaza NY; 'As I Went Out One Morning', Storm King Art Center; Le Consortium Dijon (2015-16)
2016-2017	Joins Gagosian; 'The Ridge', Gagosian Beverly Hills (2017)
2019	Peak visibility: mid-career retrospective, Musee d'Art Moderne de la Ville de Paris; first non-Academician invited to fill the Royal Academy courtyard; auction record set at Sotheby's London
2019-2022	Documented breakdown and recovery; turn toward painting (Vision/Visions series)
2021-2023	Royal Museums of Fine Arts of Belgium (2021); Centre Pompidou-Metz and Sara Hilden Art Museum 'WE with Nick Cave and Brad Pitt' (2022); TANK Shanghai (2023)
2025	'Thomas Houseago: First Light' - the Rubell Museum's first-ever single-artist survey, Miami
2026	'Journey' at Xavier Hufkens (Mar-Apr); 'Sculptures', Banca March Garden Madrid (from 1 May, first show in Spain); 'Death's Sacred Mirror', Levy Gorvy Dayan London (Jun-Sep); Hirshhorn group show (Jan-Nov); Reiffers Initiatives 2026 mentor with Theo Mercier, duo exhibition during Art Basel Paris in October

Public Engagement

Vocal advocate for sculpture and public art (2019 Artnet News interview arguing sculpture as a discipline is under existential threat); since 2026 mentor to emerging French artists via Reiffers Initiatives.

Education and Training

Institution	Years	Note
Jacob Kramer College (now Leeds Arts University), Leeds	1990-1991	Foundation year
Central Saint Martins / St Martin's School of Art, London	1991-1994	—
De Ateliers, Amsterdam	1994-1996	Postgraduate programme; contact with figurative artists including Marlene Dumas

Personal Events Shaping Work

Raised in Leeds by a single mother, a teacher who emphasised visual arts and architecture. Publicly described a roughly three-year period of serious breakdown and recovery (c.2019-2022) that reoriented his practice toward painting, collectivity and themes of ego-death, trauma and rebirth; recent works such as 'Madness Devouring Our Children' (2024) and 'Dissasociation Demon Birth' (2024) derive from this.

Artistic Context and Influences

Collaborators: Nick Cave and Brad Pitt ('WE', Sara Hilden, 2022); Theo Mercier (Reiffers 2026)
Art Historical Lineage: Rodin, Brancusi, Giacometti, Zadkine, Epstein, Gaudier-Brzeska, Picasso, Henry Moore, Michelangelo's non-finito; part of a generation revisiting modernist sculpture through a contemporary lens
Contemporary Influences: Marlene Dumas, Thomas Schutte, Luc Tuymans
Popular Culture Sources: William Blake, African masks, Japanese anime, Star Wars (Darth Vader), The Flintstones, David Bowie's Ziggy Stardust
Contemporaries and Peers: Aaron Curry, Amy Bessone, Oscar Tuazon, Danh Vo, Sterling Ruby, Huma Bhabha, Thomas Schutte

Studio Practice and Working Methods

Builds from iron-rod armatures, then adds plaster/Tuf-Cal, hemp, wood and found timber; the artist's hand, preparatory drawing, hemp-laden plaster and structural wood scraps are left deliberately visible. Combines flat wooden/planar elements with fully rounded forms and hand-drawn components cast or printed onto surfaces. Since 2019-20 large-scale collaged/expressionist painting (Visions, Antiamnesia) runs in parallel. Scale ranges from wall reliefs and masks to monumental outdoor bronzes and redwood figures (one work measuring 5.5 x 7.03 x 7.4 m); also designs plaster chairs.

Artistic Profile

Style

Monumental yet deliberately unstable figuration. Bodies and heads read as hulking and mythic but buckle under their own weight, with disjointed limbs, mask-like faces and openly exposed armatures. He fuses two- and three-dimensional registers by drawing faces and anatomy in graphite and charcoal directly onto plaster and wood planes, so flat drawn elements collide with fully rounded volumes. A second, distinct register developed since 2019-2020 comprises large-scale gestural, high-chroma visionary paintings.

Evolution

Character	Phase
Early figurative experiments; smaller-scale plaster and wood; establishment of the exposed-process idiom	1996-2007 (Amsterdam/Brussels)
Monumental plaster/Tuf-Cal and bronze figures, masks and public commissions; peak critical and market ascent	2008-2015 (LA breakthrough)
Gagosian-era large environmental works ('The Ridge'), Black Paintings, retrospective consolidation	2016-2019
Turn to painting and collage, psychological and cosmological subject matter, carved redwood totems, collaborative and curatorial projects, immersive installations	2020-2026

Influences

Rodin, Brancusi, Giacometti, Zadkine, Picasso, Henry Moore, Michelangelo, Epstein, Gaudier-Brzeska, Beuys and Bourgeois (the last two self-selected for his 2026 curatorial project), alongside African masks, antiquity, Aztec objects, William Blake, anime, Star Wars and Ziggy Stardust

Visual Language

Frontal, centralised compositions; skeletal open armatures with voids replacing eyes and mouths; matte black or raw white unification of surface; finger-pressed and tool-marked textures; figure-ground tension between drawn line and mass. In painting: fluorescent discs, concentric halos, swirling cosmic fields and horizon bands in high-key colour against dark grounds.

Signature Series

Masks / Construction Masks / Psychedelic Construction MasksWalking Man and Striding Figures (incl. 'Giant Striding Figure (Van Gogh on the Road to Arles)', 2025)Baby (2009-10, Whitney Biennial)Roman Figures and Venice HeadsBlack Paintings (2015-16)Vision / Visions paintings (2020- )Antiamnesia paintings (2025)Cosmic Snail (Shell Temple) (2025)Owl sculptures (monumental editions, 2026)Crystal No. 1 (2025-26)

Themes and Subjects

The human figure in its contemporary conditionPower versus vulnerability; monumentality versus fragilityMasks, heads and faces as presence and as death-maskWalking and striding figures - forward motion or flightEgo-death, trauma, breakdown, rebirth and mental healthMythology, the monstrous, the part-human/part-animalCollectivity and shared authorship (the 'WE' project)Cosmology, visionary landscape and light (Visions series, Cosmic Snail)

Movements and Periods

Contemporary (2000-present)Neo-expressionismContemporary figurative sculpture / modernist revivalLos Angeles post-2000 sculpture scenePrimitivism and mask traditions filtered through modernism

Techniques and Mediums

Scale: From ~30 cm masks and reliefs to outdoor works exceeding 5.5 x 7 x 7.4 m; also functional objects such as plaster chairs
Sculpture: Iron rebar armatures built up with Tuf-Cal plaster and hemp; carved and assembled redwood and found wood; bronze (often black-patinated) and cast aluminium; concrete, hessian and steel rods; graphite, charcoal and oil stick drawn onto sculptural surfaces; hand-drawn components cast or printed onto the work
Process Visibility: Seams, scraps, rebar and preparatory marks are intentionally legible - the studio remains present in the finished object
Painting and Works on Paper: Charcoal, chalk and oil on canvas mounted on board (Black Paintings, 2015-16); acrylic, oil, paper and glue collage on canvas (Antiamnesia, 2025); acrylic, pastel, pencil, coloured pencil and ink on paper (Face Studies)

Fingerprint Verification

Confirmed: Neo-expressionist and gestural registers, the contemporary 2010-present bracket, confrontational and uncanny moods, themes of identity, the body, portraiture-as-presence and process/materiality, centralised frontal compositions with figure-ground tension, and the mask/head wall-relief format are all corroborated by gallery, museum and critical sources.
Extensions: Add core mediums absent from the fingerprint: Tuf-Cal plaster with hemp over iron rebar armatures, carved redwood, cast bronze and aluminium, graphite/charcoal drawing on plaster and wood, and paper collage on canvas. Add monumentality and outdoor/public scale as defining traits, and add the walking/striding figure and the immersive architectural installation as recurring formats alongside the mask.
Disagreements: The fingerprint's achromatic / low-key / monochromatic palette weighting reflects an auction-sample bias toward black-patinated bronze masks; the canonical output is dominated by raw white plaster and untreated redwood, and the post-2020 painting is high-chroma and fluorescent. 'Mixed media / sculpture' also understates a highly specific, traditional materials vocabulary. The 0.56 coherence is best read as a genuine dual-track practice (monumental sculpture vs. visionary painting) rather than attribution risk - nearest-exemplar comparison is the correct approach.
Signature Works Note: Egon's centroid works (Face in Movement 1, Untitled (Open Face Mask), Portrait (Sleeper), Mountain I (Somatic)) are all secondary-market-scale mask/head works. They represent the tradable core but not the museum-defining works, which are the monumental figures (Baby, Walking Man, Striding Figures, Cosmic Snail).

Critical Reception

Critical Reception

Summary

Critically established since the late 2000s as a leading figure in the revival of monumental figurative sculpture; consistently framed around the tension between power and vulnerability, monumentality and fragility. Since 2019 criticism has engaged increasingly with his psychological candour and his shift into painting, with some commentary noting the celebrity dimension of the 'WE' project.

Editorial Signals

Inclusion in Miami Art Week 'shows not to miss' editorial selections for the Rubell survey; the Rubell Museum's choice of Houseago as the subject of its first-ever single-artist survey functions as a high-strength institutional/editorial endorsement equivalent to a major museum acquisition.

Key Reviews and Features

Date	Item	Publication
June 2009	'Thomas Houseago, Dieter Roth, and Andre Thomkins' review	Artforum
March 2009	'Thomas Houseago at David Kordansky'	Art in America (online)
November 2009	'Thomas Houseago and Aaron Curry'	W Magazine
2008	'In Defense of Acephalia'	Mousse Magazine
December 2007	'Thomas Houseago, A Million Miles Away'	The List
2019	Interview around the Royal Academy courtyard commission in which he argued sculpture as a discipline is dying if not dead	Artnet News
September 2022	Coverage of 'WE' at Sara Hilden, framed partly through Brad Pitt's museum debut	Artnet News
2022	Feature on 'WE' describing his breakdown-and-recovery narrative and turn to painting	Surface Magazine
April 2026	'Vulnerability Hangover: A Conversation with Thomas Houseago' - most recent major editorial feature	Sculpture
2026	Long-form interview tied to 'Journey' and the Madrid outdoor exhibition	The Talks
June 2026	Reported his selection as Reiffers Initiatives 2026 mentor with Theo Mercier	Artsy Editorial
June 2026	Art Basel 2026 sales report citing three monumental owl sculptures sold at $550,000 each	ARTnews

Art Historical Positioning

Discussed as part of a generation reworking modernist sculpture with non-traditional materials and openly exposed process; the Pinault Collection frames his incomplete, staggering figures in relation to Michelangelo's non-finito and to Giacometti and Zadkine, describing him as one of the few artists focused on the human body in sculpture.

Publications and Media

Monographs: Painting-focused monograph for the 2019 Musee d'Art Moderne de la Ville de Paris show, with a text by Nick Cave and pages from the artist's journals
Mainstream Media: Wall Street Journal, New York Times and UK press coverage of his career and Los Angeles studio; substantial celebrity-adjacent coverage through Brad Pitt and Nick Cave
Scholarly Attention: Museum catalogue essays (Oxford/Ashmolean, Storm King, MAM Paris, Sara Hilden); no catalogue raisonne or dedicated academic monograph identified

Gallery & Representation

Fair Presence

Other Fairs: Art Basel Paris (October 2026 via the Reiffers duo exhibition); Miami Art Week visibility through the Rubell survey; regular Hufkens and Gagosian fair presence in Basel, Paris and Miami
Art Basel 2026: Xavier Hufkens sold three editions of monumental Houseago owl sculptures at $550,000 each during the VIP preview - the strongest verified public primary price point

Representation

Primary

Location	Note	Gallery	Since	Tier
Brussels (St-Georges and Van Eyck spaces)	Longest-standing relationship (~30 years); 2026 'Journey' survey; sells his monumental editions at Art Basel	Xavier Hufkens	1998	Tier 1 European
Beverly Hills, New York, London and global	Maintains an artist page; 'The Ridge', Beverly Hills (2017); Gagosian provenance appears on works on paper at auction	Gagosian	c.2016	Tier 1 mega-gallery
New York and London	Artist page plus 'Death's Sacred Mirror', London, Jun-Sep 2026	Levy Gorvy Dayan	c.2025-2026	Tier 1 secondary/private-sale gallery

Stability Assessment

Unusually stable European anchor (Hufkens since 1998) layered with mega-gallery (Gagosian) and blue-chip secondary representation (Levy Gorvy Dayan) - a three-tier structure supporting both primary pricing and private resale.

Historical and Secondary

Location	Note	Gallery
New York	Represented him around the 2010 Whitney Biennial	Michael Werner Gallery
Los Angeles	First US solo, 'Serpent', 2008	David Kordansky Gallery
Glasgow	'A Million Miles Away', 2007	The Modern Institute
Berlin	2009	Contemporary Fine Arts
Milan	—	Galeria Zero
—	Active resale channels	Artsy / Ocula / MutualArt secondary listings

Geographic Reach

Europe (Belgium, France, UK, Netherlands, Germany, Finland, Spain), North America (Los Angeles, New York, Miami, Dallas, Washington DC) and Asia (Shanghai - TANK and Long Museum)

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artist milestone

Latest: Thomas Houseago selected as mentor for Reiffers Initiatives 2026, culminating in a duo exhibition at

Most recent signal: Jun 12, 2026

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