Xavier Hufkens

Xavier Hufkens Representing multiple generations of leading artists and estates. Founded in 1987. Xavier Hufkens is one of Europe’s leading galleries for contemporary art.
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Located in Brussels, the gallery maintains a diverse exhibition programme with solo exhibitions of the gallery artists as well as group exhibitions and special projects. The gallery deals in a distinctive combination of painting, drawing, sculpture, photography, video and installation-based work. The origins of the gallery date back to 1987, when Xavier Hufkens opened a gallery space in an un-refu

rbished warehouse in the neighbourhood of the South Station (Midi) in Brussels. During the early years, the focus of the gallery was upon mid-career and emerging artists and the gallery is known for having introduced some of the most influential contemporary artists to Brussels at a time when they were still relatively unknown. British sculptor Antony Gormley, who is still affiliated with the gallery, Felix Gonzalez-Torres and Rosemarie Trockel all showed in Belgium for the first time with Xavier Hufkens (Gormley in 1987; Gonzalez-Torres in 1991 and Trockel in 1993). In 1992, the gallery moved to a 19th-century townhouse at 6-8 rue Saint-Georges, close to the Avenue Louise. Completely renovated by Belgian architects Paul Robbrecht, Hilde Daem and Marie-José Van Hee, the house quickly gained a reputation for being not just one of the most beautiful contemporary art spaces in the Belgian capital, but also one of the most interesting. The expanded exhibition programme coincided with the additional representation of a number of established artists from Belgium and abroad, including Richard Artschwager, Thierry De Cordier and Jan Vercruysse. In 1997, Hufkens expanded the gallery further by annexing the adjacent building and a number of new artists joined the gallery, including Louise Bourgeois, Roni Horn and Thomas Houseago. A second space in the same street, at 107 rue Saint-Georges, opened in spring 2013. Located in the Galerie Rivoli, a mixed-use commercial development from the 1970s, the new gallery space was designed by Swiss architect Harry Gugger, who was previously in partnership with Herzog and De Meuron. Slegten & Toegemann, Brussels, managed the project. An eclectic but very clear vision underpins all of the gallery’s activities: “The definition of the gallery was established from the start. The common thread, then and now, is quality over and above everything else, which I find more intellectually challenging than a forced definition. From the early days I juxtaposed established artists such as Michelangelo Pistoletto with someone like Felix Gonzalez-Torres when he was totally unknown. Today I still mix my work: I have no problem showing Malcolm Morley … alongside Robert Ryman, or Willem de Kooning.” [Xavier Hufkens in The Art Newspaper, Issue 220, January 2011, published online: 20 January 2011]

Xavier Hufkens represents some thirty artists from different generations. He is part of the six-member selection committee for Art Basel and also participates in up to five international Arts Fairs annually. The gallery has partnerships with the estates of Louise Bourgeois, Willem de Kooning and Robert Mapplethorpe.

26/06/2026

speaks about confronting oneself through painting a self-portrait in her studio in Paris

Herbelin is currently included in 'Visages d'artistes' on view at in Paris until 19 July — a unique exhibition devoted to artist’s portraits and self-portraits, a theme central to its collections and a major focus of its acquisitions policy since its creation in the early twentieth century.

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Production: Paris Musées / Petit Palais. Film: . Courtesy of the artist.

https://www.youtube.com/watch?v=RIB1qZNw1EA&utm_name=sked&utm_source=facebook&utm_medium=social&utm_content=sked_6a3d442b6a7dbc2ca7ea0341

'Portrait of Mark Rothko' (1933) by Milton Avery. The two artists shared a profound, lifelong friendship, and Avery beca...
25/06/2026

'Portrait of Mark Rothko' (1933) by Milton Avery. The two artists shared a profound, lifelong friendship, and Avery became a formative influence on the younger Rothko, who later wrote in tribute: “Avery is first a great poet.”

In the 1930s, Avery's flattened forms, simplified compositions, and radical approach to colour helped shape the work of a generation of American painters, including Rothko, Adolph Gottlieb, and Barnett Newman.

📆 Exploring these artistic connections, the landmark exhibition 'Avery, Gottlieb & Rothko: By the Sea' opens at in Gloucester, MA, on 30 June and remains on view through 27 September.

The exhibition traces the creative dialogue between (1885–1965), (1903–1974), and (1903–1970), whose shared summers in Gloucester from the 1920s through the mid-1940s left a lasting imprint on their artistic development.

Learn more via link in bio 🔗

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Featured: Milton Avery, 'Portrait of Mark Rothko', 1933; Milton Avery, 'Untitled (Robed Bathers)', undated. © 2026 The Milton Avery Trust / Artists Rights Society (ARS), New York; Mark Rothko, 'Untitled (bathers on the beach)', 1934. © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York.



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23/06/2026

Last chance to see , 'Continuities', at Rivoli — on view until this Saturday

Semmel paints her own body as an authored image—internalised rather than observed. In her nineties, that act carries weight. While the aging female form is routinely edited from view, these canvases place it squarely at the center, without apology or disguise. Her compositions do not treat the body as symbol, memory, or ideal.

Watch the full video: https://www.xavierhufkens.com/exhibitions/joan-semmel-2

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Film © 2026 Xavier Hufkens, Brussels and Alexander Gray Associates, New York Artwork © 2026 Joan Semmel/ Artists Rights Society (ARS), New York.

 : "The importance of performance for me lies within the fact that I'm the action itself."McCarthy's 'The Painter' (1995...
21/06/2026

: "The importance of performance for me lies within the fact that I'm the action itself."

McCarthy's 'The Painter' (1995) is currently included in 'In the Studio: Space, Work, Legend' on view at Museum of Fine Arts Chur in Chur, Switzerland until 5 July

In 'Painter', the mythology of the artist as hero is attacked in a grotesque, parodic performance that unambiguously points to the abstract expressionists. Performing as the painter, McCarthy undermines pre-packaged ideas about the creative process by turning it into an absurdist soap-opera.

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Excerpts from Paul McCarthy, 'The Painter' (1995). Installation view Bündner Kunstmuseum Chur, Switzerland. Photo: Thomas Strub. All footage courtesy of the artist.


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On View at : Richard Aldrich, 'Untitled' (2025-2026) — 📍Booth B18  treats painting as a space of ongoing negotiation, wh...
19/06/2026

On View at : Richard Aldrich, 'Untitled' (2025-2026) — 📍Booth B18

treats painting as a space of ongoing negotiation, where decisions are revised, interrupted, or left unresolved. His canvases rarely settle into a single intention; passages are reworked, layered, or undone, often within the same surface. What emerges is less a fixed composition than a record of decisions, giving the work a soft elasticity, as if it could continue beyond its edges.

💫 Visit our booth to also explore works by Milton Avery, Huma Bhabha, Louise Bourgeois, Tracey Emin, Lucio Fontana, Sayre Gomez, Nathanaëlle Herbelin, Charline von Heyl, Roni Horn, Thomas Houseago, Ulala Imai, Yves Klein, Leon Kossoff, Mark Manders, Alice Neel, Qiu Xiaofei, Joan Semmel, Tatiana Trouvé, Danh Vō, Cathy Wilkes, and Zhang Enli.

Also see the new major triptych, 'STUDIO' (2026) by Ulala Imai at📍Booth U24 — as part of .

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Images courtesy of the artist and Xavier Hufkens, Brussels.

https://www.xavierhufkens.com/news/art-basel-4?utm_name=sked&utm_source=facebook&utm_medium=social&utm_content=sked_6a32b7053a86ecbff402555c

Happy birthday to  , whose formally inventive sculptures reflect an enduring dedication to craftsmanship 🪢Featured here ...
18/06/2026

Happy birthday to , whose formally inventive sculptures reflect an enduring dedication to craftsmanship 🪢

Featured here are Holloway’s illuminated head sculptures, composed of vividly coloured forms with noses that blink in predetermined sequences. Arranged as stacked totems, paired figures, or suspended upside down, the works invite viewers to attribute meaning to their rhythmic exchanges of light.

Suggesting both connection and hierarchy, the sculptures evoke the dynamics of community and social relations, prompting questions of proximity, power, and position.

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1: 'Small Crowd' (detail), 2017; 2: installation view, 2018. Xavier Hufkens; 3: 'Youth', 2017; 4-5: 'Very Tall Headstack', 2011; 6: Antwerp Universal, Het Leienpaleis, Antwerp, Belgium. All images courtesy of the artist.

https://www.xavierhufkens.com/artists/evan-holloway?utm_name=sked&utm_source=facebook&utm_medium=social&utm_content=sked_6a3274957aa5fde6377da507

Born   in Ronse, Belgium in 1954,   has spent decades constructing an oeuvre that persistently confronts the great quest...
17/06/2026

Born in Ronse, Belgium in 1954, has spent decades constructing an oeuvre that persistently confronts the great questions of existence: isolation, the absurd, and the (im)possibility of the sacred.

Writing occupies a central place in this pursuit. Far from explanatory texts, De Cordier's writings, notes and aphorisms are reflections on the human condition. In the ‘Iconotextures', language itself becomes image. Thousands of handwritten definitions of God — affirming and denying His existence in equal measure — accumulate into dense fields of blue ink. Oscillating between the absurd and the sacred, words become the material of an image that seeks to make the invisible visible.

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1: The artist perched on a writing desk in his garden, Schorisse, summer 1991. Photo: Carine Callebaut; 2: Autoportrait (en mots), 1985, 2019-2024. Photo: Thomas Merle; 3: Only Words (Tous les jours je tourne en rond…), 2023. Photo: Hugard & Vanoverschelde; 4, 5: installation views, Iconotextures, Royal Museums of Fine Arts of Belgium, Brussels, 2016. Photo: Allard Bovenberg. All images courtesy of the artist.

https://www.xavierhufkens.com/artists/thierry-de-cordier?utm_name=sked&utm_source=facebook&utm_medium=social&utm_content=sked_6a3262b891e6ea44da07e94c

 , 'Couple' (2002), on view at  —📍Booth B18'Couple' belongs to the extraordinary body of fabric sculptures that occupied...
16/06/2026

, 'Couple' (2002), on view at —📍Booth B18

'Couple' belongs to the extraordinary body of fabric sculptures that occupied Bourgeois during the final decades of her career. In these works, cloth became a deeply charged material: domestic, bodily, tactile and mnemonic. Its softness evokes skin, clothing, bedding and childhood memory, while its stitched and assembled surfaces speak to repair, rupture and the persistence of psychic wounds.

💥 Our group presentation features multiple generations of artists from both within and beyond the gallery’s programme, including Richard Aldrich, Milton Avery, Huma Bhabha, Louise Bourgeois, Tracey Emin, Lucio Fontana, Sayre Gomez, Nathanaëlle Herbelin, Charline von Heyl, Roni Horn, Thomas Houseago, Ulala Imai, Yves Klein, Leon Kossoff, Mark Manders, Alice Neel, Qiu Xiaofei, Joan Semmel, Tatiana Trouvé, Danh Vō, Cathy Wilkes, and Zhang Enli.

Also on view at — Ulala Imai at📍Booth U24

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Images courtesy of the Easton Foundation and Xavier Hufkens, Brussels. Photo: © Hugard & Vanoverschelde, Sebastiano Pellion di Persiano.

https://www.xavierhufkens.com/news/art-basel-4?utm_name=sked&utm_source=facebook&utm_medium=social&utm_content=sked_6a315474503ebcf781906998

 : Ulala Imai, 'STUDIO' (2026) — co-presented by Xavier Hufkens, Karma and Nonaka-Hill  —📍Booth U24 A third-generation a...
15/06/2026

: Ulala Imai, 'STUDIO' (2026) — co-presented by Xavier Hufkens, Karma and Nonaka-Hill —📍Booth U24

A third-generation artist in her family, Japanese painter is known for paintings in which everyday objects are transformed into enigmatic scenes charged with a distinct sense of intimacy.

For Art Basel Unlimited 2026, Imai presents a new triptych 'STUDIO', in which she turns her attention to the interior spaces of her childhood home, where she still lives and works today, in Kanagawa, Japan.

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Courtesy of the artist, Xavier Hufkens, Karma and Nonaka-Hill.


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For  , 1+1=1.Born   in 1949 in Châtillon-sur-Seine, France, Lavier is a pivotal figure in postwar French art. Since the ...
14/06/2026

For , 1+1=1.

Born in 1949 in Châtillon-sur-Seine, France, Lavier is a pivotal figure in postwar French art. Since the 1970s, he has challenged distinctions between painting, sculpture and the readymade, profoundly influencing contemporary understandings of representation and the object.

His equation "1+1=1" lies at the heart of his practice. Inspired by the logic of grafting—a concept rooted in his early training in horticulture—Lavier brings together existing forms to create a third reality: works that hover between categories and resist fixed definitions.

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1: 'Peugeot 103', 1993. © ADAGP, Paris, 2021. Courtesy Bourse de Commerce – Pinault Collection. Photo: Aurélien Mole; 2: Portrait, 2025. Photo: Thomas Merle; 3: 'La Boca sur Zanker', 2005; 5: 'Baft III', 2011; 6: 'Tango', 2018; 7: 'Ikea', 2008. Photo: Hugard & Vanoverschelde; 8: 'Brandt/Fichet Bauche', 1984. All images courtesy of the artist.

Learn more:


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Rue Saint-georges 6
Brussels
1050

Openingstijden

Dinsdag 11:00 - 18:00
Woensdag 11:00 - 18:00
Donderdag 11:00 - 18:00
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