In the world of alternative investments, art holds a fascination all of its own. It is not merely a safe-haven asset; it also conveys status, communicates a language, and at times embodies a passion. Yet when viewed through the lens of a wealth adviser, the picture shifts. Here the conversation is not solely about beauty or recognisability, but about liquidity — the concrete ability to sell a work at the right moment and on reasonable terms.

It is in this light that the recent Artnet Intelligence Report 2025 proves particularly instructive, having set out to answer a question that is deceptively simple: which artists, today, sell best?

An answer that is useful not only to the most seasoned collectors, but also to those who — with a prudent yet curious outlook — consider art as a component to be integrated into a well-diversified wealth portfolio.

When the name makes the market: Picasso, Warhol and Hockney

Among the artists who guarantee the greatest “turnover” on the secondary market, it comes as no surprise to find Pablo Picasso. His name is an institution, and the variety of his output — from ceramics and drawings to masterworks on canvas — means there is virtually always something for sale, in every corner of the world.

Andy Warhol follows closely: his serial production, the appeal of pop culture, and his ability to remain relevant across successive trends make him one of the most frequently traded and recognisable names. In other words, those who acquire a Warhol already know they can resell it — perhaps without exceptional gains, but within a reasonable timeframe.

Somewhat less prominent yet steadily growing is David Hockney, who is carving out a highly respectable position among the most liquid modern artists. His distinctive style and the consistency of his artistic trajectory make him particularly appealing to collectors seeking a sound balance between renown and appreciation.

The historically established contemporaries: Kusama, Richter, Murakami

The contemporary market is not made up solely of speculation and hype: certain living artists have by now become genuine international “brands”. Such is the case with Yayoi Kusama, celebrated for her “infinity rooms” and obsessive polka dots, and Gerhard Richter, whose abstract refinement continues to win over more traditional collectors.

Alongside them stands Takashi Murakami, who has successfully blended Japanese aesthetics, manga and Western culture, positioning his works at the intersection of high art and mass culture. These artists are neither emerging figures nor shooting stars: they are cornerstones of the market, regularly present at art fairs, in museums and — above all — at auction houses.

Those who choose to acquire works by these names do so with a logic similar to that of an investor in financial blue chips: moderate expectations, but contained risk.

Young, yet already in the spotlight: Boafo, Aboudia, Fadojutimi

2025 also confirms the growing interest in emerging artists who, within just a few years, have moved from outsider status to established names in international auction catalogues.

Amoako Boafo, a Ghanaian painter, ranks among the most sought-after of the new generation. His works, focused on identity and representation, have found a place in leading museums and private collections.

Aboudia has followed a similar trajectory: with a rougher, more “urban” style, he has successfully captured a market in search of authenticity and social narrative.

Then there is Jadé Fadojutimi, born in 1993, whose richly layered and vibrantly coloured canvases have swiftly attracted the attention of critics and investors alike.

All three share a key characteristic: speed. Of growth, of visibility, but also — and this warrants careful consideration — of volatility. Those who invest in these names today may achieve excellent returns, but must be aware that prices can fluctuate significantly over time.

The Asian approach to art investment

One can no longer speak of a global market without including Asia. Here too, certain names stand out for their solidity and frequency of transactions.

Zao Wou-Ki and Zhang Daqian represent the core of Chinese art as an investment category, while Liu Ye — partly thanks to his recent exhibition at the Prada Foundation in Milan — is establishing himself as a bridge between Eastern sensibility and Western taste.

For a European investor, focusing on these names can mean geographical and cultural diversification, though it also calls for a more selective and well-informed approach, given the distinct structure of the Asian market.

What does all this tell us?

For those working in wealth management — and for anyone wishing to approach art investment with rigour — there are several valuable lessons:

  • The name alone is not enough: not every work by a great artist is readily sellable. One must understand the market segment, quality, provenance and format.
  • Liquidity and return are two sides of the same coin: a highly liquid artist such as Warhol or Picasso may offer stability, but rarely exceptional performance. Conversely, emerging names offer potential, yet with markedly higher risk.
  • An exit strategy is essential: art is not a disposable investment. Before purchasing, one should already know how — and to whom — it can be resold.
  • Integrate, do not substitute: art is not an alternative to financial markets, but a complement to them. It should occupy a coherent — and limited — portion of the portfolio, with an appropriate investment horizon.

Art is not for everyone, but it can become accessible when approached with method, the right tools and clear vision. Our role as independent financial advisers is not to select the work for the client, but to help them understand when, how much and why art can form part of their wealth journey.