The Middle East is shaping the world’s art market

Kings and Queens of Africa: Forms and Figures of Power – an exhibition on at Louvre Abu Dhabi. Victor Besa / The National

The Middle East is establishing itself as a driving force in the development of the art market, combining economic growth with structuring initiatives to ensure the sustainability of this emerging sector. Far from being mere manifestations of a passing trend, the region’s recent initiatives reflect a well-thought-out strategy that blends cultural diplomacy, soft power, and economic ambition.

Gulf countries are no longer just art buyers; they are now shaping the market in their own image. But is this dynamic contributing to a structural transformation of the regional art sector, or will it remain dependent on major Western auction houses and institutions? Will the region manage to develop a truly autonomous market, or will it remain anchored in existing models?

Sotheby’s inaugural auction in Saudi Arabia, scheduled for this weekend (February 8), is a striking illustration of this shift. More than just a commercial event, it is a statement of intent. This first commercial sale in the Kingdom is not taking place in an anonymous gallery but in a highly symbolic location: Diriyah, the cradle of the Saudi dynasty and the site of significant investments under the giga-development project of the same name, embodying the fusion of modernity and heritage.

This auction reflects a clear ambition: to establish Riyadh as a key hub in the art market, on par with Dubai or London. This movement reflects a long-term ambition to create a sustainable art market supported by modern infrastructure and accessible artistic platforms.

Abu Dhabi, which recently acquired a minority stake in Sotheby’s, demonstrates that the goal is not just to participate in the art market but to influence it on a large scale. This strategic move seeks to position the Emirati capital as a key player, competing with the strongholds of Western art.

For this dynamic to be sustainable, however, it is essential to structure an art market supported by strong infrastructure and appropriate educational policies. An artistic ecosystem is not just about spectacular auctions and high-profile acquisitions. It requires training institutions, structured educational programmes, and long-term commitment, independent of oil price fluctuations.

While Unesco’s Global Framework for Arts and Culture Education is a valuable initiative – this first text in the field was adopted with great fanfare less than a year ago by the international community, gathered in Abu Dhabi – its implementation remains marginal. Yet, this tool could be essential in ensuring knowledge transmission, professionalising art careers, and developing local expertise.

The establishment of specialised curricula, the training of curators, exhibition commissioners, and gallery managers are crucial steps in securing this dynamic for the long term. The few workshops organised by Sotheby’s alongside the auction are a positive signal, but they alone are not enough to structure a true educational ecosystem. This is the much-discussed “capacity building,” a term often heard from consultants but one that, without real implementation, has lost its substance and effectiveness.

It is imperative for governments to invest in academic institutions and research programmes in the cultural field, including cultural management. Without solid and accessible arts education, the regional art market risks remaining dominated by international players without fully benefiting the local scene. The ambition should be to anchor the art market as an economic and cultural pillar in its own right. This implies encouraging access to art from an early age, investing in the training of future collectors and professionals in the sector, and ensuring the free movement of artworks and artists on a global scale.

Saudi Arabia, like its neighbours, is now attracting the attention of the world’s top auction houses. Christie’s, sensing the region’s growing influence, organised an exhibition in London this summer dedicated to Saudi artist Ahmed Mater, strategically timed during the peak season for Gulf collectors in the British capital. This is no coincidence: these auction houses understand that purchasing power and cultural influence are shifting, and they want to be the first to capitalise on it.

Dubai, with its Art Dubai fair and already well-established art market, watches this development with both interest and caution. Until now, the Emirati city was considered the region’s art hub, but it must now contend with the rise of Riyadh and Abu Dhabi. This competition could drive innovation and artistic diversity, but it could also fragment a market that is still in the process of structuring itself.

This artistic development aligns with a sustainability logic, fostering the creation of a stable cultural ecosystem capable of generating economic opportunities and encouraging the emergence of regional talents. By investing in the art market, Gulf states aim to redefine their image on the international stage. Art is becoming a driver of economic dynamism, a means of attracting investors, and a way to position these countries as global cultural crossroads – an approach that aligns with the development of major museum infrastructures, such as the Louvre Abu Dhabi. Vision 2030 in Saudi Arabia illustrates this ambition.

With the development of the AlUla site—where France is a key partner and which Emmanuel Macron recently visited—the Kingdom aims to prove that it is not merely buying art but becoming a major player in the field. At the same time, the Islamic Art Biennale, currently held in Jeddah, the country’s second-largest city strategically located on the Red Sea, reflects a desire to highlight Islamic cultural heritage through a contemporary lens.

The rise of the Middle East in the art world is no longer just a trend but a reality that is reshaping global balances. The question is no longer whether the region can establish itself, but how far it will go. In this growth dynamic, Saudi Arabia, Abu Dhabi, and Dubai are multiplying initiatives to build a resilient art market, one capable of integrating local artists while attracting collectors and experts from around the world.

However, history reminds us that art cannot simply be decreed—it must be lived and built. For this artistic evolution to be sustainable, it will take more than record-breaking sales and strategic acquisitions. It will require time, training, and a cultural vision that goes beyond economic imperatives. The future of the global art market may well be unfolding in the desert, but it must find its breath beyond auction houses and dazzling museums.