Gilles Dyan: Today, Opera Gallery has a presence in 14 cities worldwide, including London, Paris, Miami, New York, Geneva, Madrid, and Dubai. In 2026, we plan to open a new space in Houston, Texas.

GD: Since founding Opera Gallery in 1994, I’ve lived through more than one crisis, and each time I’ve been struck by how resilient the art market can be. We operate in key art centers around the world, which helps us spread risk and not depend on a single scene or local market.
Looking at the current situation, I would say the most speculative segments are having the hardest time—areas driven mainly by short-term resale and price growth rather than long-term engagement with art. At Opera Gallery, we are largely focused on the secondary market and are very selective about the works we choose. Even in challenging times, strong works by artists like Picasso, Chagall, or Warhol continue to find collectors and offer a sense of stability. And, of course, over more than 30 years we’ve built deep, long-term relationships with our collectors, which becomes especially important in moments like these.

GD: It’s certainly important to stay flexible and open to new possibilities. That said, for now we’re sticking with our existing approach. For us, the most important thing remains the quality of the art we work with. Over the past 15 years, the level of works at Opera Gallery has risen significantly, and we can clearly see that this strategy is paying off.

GD: Art fairs are part of Opera Gallery’s DNA—it all started back in 1993 with the Trésors Art Fair in Singapore. In 2025 alone, we’re participating in 12 fairs around the world. Fairs remain a key element of the art market ecosystem: they allow us to meet new collectors and institutions, strengthen relationships with existing clients, and help keep the gallery visible while supporting its overall image.

GD: For me, color is one of the main tools artists use to express ideas, shape perception, and build identity. Our Miami exhibition really highlights how powerful that can be. A good example is Pierre Soulages’s Peinture (1967), where black is explored not simply as a color, but as a concept—a way of working with light, depth, and space. Works like this show just how profoundly color can influence perception and communicate an artist’s vision.