A Contemporary Gallery & Global Art Advisory

De Buck is a contemporary gallery and global art advisory operating across the primary and secondary markets. Through a selective programme of exhibitions, art fairs, institutional projects, and private sales, the gallery connects collectors and institutions with exceptional works of modern and contemporary art.

Founded by David De Buck, the gallery has built its reputation through an ambitious international programme spanning figurative and abstract painting, sculpture, fiber art, and conceptual practices. With roots in New York, Saint-Paul-de-Vence, and Antwerp, De Buck has presented artists including Devan Shimoyama, Zak Ové, Jeffrey Gibson, Tahnee Lonsdale, and Juan Garaizabal, among others.

Since 2010, the gallery has presented 127 exhibitions and participated in 22 international art fairs, including The Armory Show, EXPO Chicago, Art Miami, Untitled Art, and Frieze Sculpture London. Artists presented by De Buck have exhibited at institutions including the Museum of Fine Arts, Houston; Zeitz MOCAA, Cape Town; the Serlachius Museum; and the Museum of the African Diaspora. The gallery and its artists have also received coverage in publications including The New York Times, The Wall Street Journal, Financial Times, and Artforum.

Today, De Buck operates through a focused, project-based model combining curated exhibitions and art-fair presentations with a highly personalized global advisory practice. The approach is intentionally selective: fewer artists, carefully chosen projects, and meaningful presentations designed to create long-term value for artists, collectors, and institutions.

De Buck advises private collectors, family offices, foundations, and institutions on building and managing significant collections of modern and contemporary art.

The advisory works across both the primary and secondary markets, providing independent guidance on acquisitions, private sales, collection strategy, valuation, provenance, condition, insurance, logistics, and long-term collection planning.

Alongside its contemporary programme, De Buck is active in the private market for significant postwar, modern, and contemporary works. The gallery has facilitated transactions involving artists including Jean-Michel Basquiat, Pablo Picasso, Claude and François-Xavier Lalanne, Christo and Jeanne-Claude, Keith Haring, Robert Indiana, Tom Wesselmann, and Niki de Saint Phalle.

Available works are presented discreetly through private viewing rooms and by appointment rather than through a traditional public inventory. The gallery also works directly with collectors considering the sale or consignment of important works, providing a confidential and highly targeted approach to placement.

David De Buck’s longstanding relationships within the international art world, together with personal connections to artists including Claude and François-Xavier Lalanne and Christo and Jeanne-Claude dating to his early years, have shaped an advisory practice grounded in access, trust, connoisseurship, and a long-term understanding of the market.

Curatorial projects remain central to De Buck’s identity. The gallery collaborates with artists, estates, museums, foundations, and private institutions to develop exhibitions and site-specific presentations internationally.

A recent example is Memories Carved in Steel: Echoes from Dilmun and Beyond, a major exhibition by Spanish artist Juan Garaizabal presented at the Bahrain National Museum from November 23, 2024 through March 31, 2025. The project brought together 12 monumental sculptures in an outdoor museum setting, including newly commissioned works created specifically for the site.

Projects such as these reflect De Buck’s ability to move fluidly between the intimacy of private collecting and the scale of institutional exhibitions, bringing together curatorial vision, market expertise, and an international network.

De Buck believes in depth over breadth.

Whether representing a living artist, sourcing an important secondary-market work, advising on the development of a collection, or organizing an institutional exhibition, the gallery approaches each project individually.

The result is a model built around scholarship, provenance, discretion, and long-term relationships rather than volume.