From the Art Basel Daily paper  As the “first choice” invitees clambered—literally—into the 42nd Art Basel vernissage yesterday, they were faced with more than 300 stands spread across two floors. While the fair may seem a confusing compendium of more than a century of art, a few significant trends clearly emerge, particularly in comparison with recent editions. Collectors must have plenty of space to display their acquisitions, judging by the number of huge works on offer this year. Dasha Zhukova is one who has no space issues. She bought Jason Rhoades’ installation at Art Unlimited for close to $1m (through David Zwirner/Hauser & Wirth). But how many others could hang the mural sized-painting by James Rosenquist at Richard Feigen (The Holy Roman Empire through Checkpoint Charlie, 1994, $2.75m, 2.0/A7) or the large-scale painting suite Quartet, 2011, by Satoko Nachi at Tomio Koyama for $70,000 (2.1/K17)? Italian collector Jean Pigozzi rushed to buy the Nachi series as the fair opened. “For the first hour, I run. I’m like a horse with blinkers,” said Pigozzi. 
The country has launched a drive to raise A$4m-A$6m to replace the building by 2015 The artist shows works in Shanghai for the first time this month Liste is 16 years old but the satellite still presents some surprising exhibitors Art fairs are an essential opportunity for newer collectors to expand their horizons Beth Katleman ceramics play between tacky and tastful “They’re treating us like animals!” fulminated one irate lady collector at the head of the crush in the Art Basel lobby in anticipation of the First Choice preview yesterday morning  all articles  The Art Newspaper Magazine  Free with the June issue: Magazine on Venice and Basel – over 100 Biennale artists data. Subscribe now for online access to The Art Newspaper's magazine and the June issue. Subscribe for immediate access | 
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