The 28th edition of Paris Photo wrapped up last week after welcoming 75,000 visitors and closing major transactions. From the outset, the fair carried a lively energy, anchored by Sophie Ristelhueber’s monumental installation at the Grand Palais. Stretching nearly forty metres, her work reflected the scars of war and climate on landscapes, architecture, and communities, setting a contemplative tone for the week.
Structured around curatorial statements, the fair presented a wide panorama of the medium, from historical archives to contemporary and digital practices. Highlights included The Last Photo, featuring 60 works from the Estrellita B. Brodsky collection, as well as the Voices and Emergence sectors, which introduced international and emerging artists to a broader audience. Over five days, visitors engaged with more than 30 talks, performances, and guided tours, alongside over 400 book signings, fostering dialogue and reflection around photography’s diverse forms.
Sales, while not the main focus, reflected robust interest from collectors and institutions, with significant acquisitions across historical and contemporary works, from vintage prints by Robert Frank and Ming Smith to commissions in the Digital sector. Initiatives such as Elles x Paris Photo increased visibility for women artists to 39%, reinforcing the fair’s commitment to diversity.
Paris Photo 2025 leaves a lasting impression as a space for discovery, conversation, and exchange. By embracing both history and contemporary innovation, it offered visitors a rich and varied exploration of photography, paving the way for the 2026 bicentenary edition, which promises to continue highlighting the medium’s plural perspectives and global reach.