The 19 most-searched Ibero-American artists on artnet
Spain leads with five artists, followed by Brazil and Mexico with four each, Argentina with two, and Colombia, Ecuador, Cuba, and Honduras with one artist each.
In a volatile ecosystem like the art market, proxy data -such as searches on specialized platforms- have become key tools for detecting demand patterns and anticipating market movements.
The monthly ranking by Artnet, which lists the 300 most searched artists in its database, provides exactly this overview. In April 2025, 19 Ibero-American artists made it into the list, solidifying their visibility on the radar of collectors, advisors, and curators.
Among them, the Colombian Fernando Botero (ranked 24th) stands out. His consistency in the Top 30 for five months indicates sustained posthumous interest, which is essential for the secondary revaluation of his work.
As for living artists, the Spanish Secundino Hernández makes a notable re-entry by placing 64th, reflecting a resurgence in the visibility of his contemporary work. Just a year ago, we dedicated an article to Hernández about his secondary market at Phillips.
Historical figures such as the Spanish Joan Miró (56), the Ecuadorian Oswaldo Guayasamín (59), or the Mexicans Diego Rivera (149) and Rufino Tamayo (158) coexist with active artists like the Brazilians Sebastião Salgado (78), Romero Britto (130), Vik Muniz (156), and OSGEMEOS (176). The latter collective has seen a rise of 124 positions, a clear indication of momentum in interest in their work.
Although the list still shows a strong male overrepresentation (15 men to 4 women), names like Mexican artists Leonora Carrington (115) and Lola Álvarez Bravo (jumping to 122 after five months of absence), Cuban Ana Mendieta (253), or Argentine Leonor Fini (283) demonstrate that interest in historical feminist practices is also garnering attention.
In fact, Fini, who has nearly 3,000 auction results on the platform, has occupied good positions at 35 and 16 in November and December 2024, respectively.
Meanwhile, the decline of classics like Picasso (85), Fontana (206), and Dalí (290) against the rise of contemporary Ibero-Americans like Hernández and OSGEMEOS suggests a reconfiguration in the secondary market's focus: less canon and more contemporary creation. Nonetheless, we will remain attentive to future rankings.