CAN Art Fair Ibiza turns five this year, and the anniversary fits its age. Running June 25th to 28th at the FECOEV exhibition center on the outskirts of Ibiza Town, the fair has expanded to match its rising visibility on the crowded fair circuit. A record 32 international exhibitors made the trip to the Spanish island this year, with a strong showing of local Spanish galleries settling in next to spaces from as far afield as Bucharest, Romania; Los Angeles; and Shanghai.
As a surprisingly thick throng of people filtered in for VIP day on Thursday, the mood matched the locale: There was a relaxed atmosphere almost as soon as the doors opened, with the colorfully dressed mix of collectors, locals, and visitors blending with booths that often leaned fully into the Ibiza vibe, with a far more vibrant, cheeky selection of works than you’d often see cruising other, more buttoned-up art fairs.
“You can't overlook that CAN is a cultural intermezzo in people's holidays, which is an element that shapes the relaxed atmosphere we experience year after year and has truly become our trademark,” the fair’s curator, Saša Bogojev, told Artsy.
Sales began within hours, with Madrid’s VETA by Fer Francés reporting that over half of the works in its solo booth of works by Javier Ruiz, made specifically for the fair, had sold out. And though there were some higher-priced works for sale (like those at IOMO Gallery)—most pieces fell into the four- and five-figure range, making for an accessible selection.
It was a packed house this year, even though it’s an island more known for parties than contemporary art (one gallerist told us they had changed their evening plans, abandoning an art dinner to go see 50 Cent perform). For collector Domenico Positano, CAN’s modest size was a welcome relief after a week spent at the supersized Art Basel in Switzerland.
More of a laid-back side quest than an overstimulating art-world obligation, CAN proved its worth as a place to buy into a new discovery—or simply enjoy the Spanish club music played at a reasonable volume next to the free champagne bar.
Here, we share our five best booths.
VETA by Fer Francés
Booth B2
With works by Javier Ruiz
Las flores de tu atardecer III, 2026
Javier Ruíz Pérez
VETA by Fer Francés
With walls painted in a deep terra-cotta and in pole position right at the fair’s entrance, VETA’s booth is impossible to miss. The solo presentation of works by Javier Ruiz, a Spain-born, Amsterdam-based painter, felt immediately at home against the warm walls; his canvases, populated with vivid floral arrangements, ceramic-filled shelving units, and parrots set against burnt-orange Mediterranean horizons, were elevated by the booth’s reddish hue.
“We felt his paintings would fit in very well with the Ibiza ambiance and feeling of the island,” explained the gallery’s founder, Fer Francés. Two standout large-scale works, Compleja naturaleza (2026) and Dejé mi cabeza al amparo de la nada (2026), provide anchor points, while smaller floral compositions radiate outward. Ruiz painted the new series with the terra-cotta booth in mind—he’d originally envisioned a fuller floor installation—and the effect gives the presentation a warmth befitting the Balearic island atmosphere.
VETA, founded in 2021 by Francés in a converted 1,200-square-meter Carabanchel, Madrid, space, has put its full weight behind the rapidly rising painter: Ruiz’s previous solo there in March sold out entirely. At CAN, all the smaller landscape works had sold within hours, while the larger painting, Compleja naturaleza (2026), was purchased by “an important collector in NYC,” according to the gallery.
Bodegón con estampa antigua, 2026
Javier Ruíz Pérez
VETA by Fer Francés
Las flores de tu atardecer II, 2026
Javier Ruíz Pérez
VETA by Fer Francés
Dejé mi cabeza al amparo de la nada, 2026
Javier Ruíz Pérez
VETA by Fer Francés
Compleja naturaleza, 2026
Javier Ruíz Pérez
VETA by Fer Francés
Albert Contemporary
Booth C6
With works by Juan de la Rica and Luca Bjørnsten
Albert Contemporary director Jonathan Kvium curates one of the fair’s most cleverly installed booths, turning a structural pillar sideways to segment the space and installing a pair of cheeky works by Luca Bjørnsten at its base: a crayon drawing of a sailboat, its crayons affixed over top, hangs on the narrow strip. If you look up, you’ll find a ceramic seagull clutching the stolen keys to a Ferrari higher up—sold for €1,200 ($1,370) by the end of the preview day. The humor feels almost childlike—until you notice the two nude female works in the foreground flanking the pillar, one by Bjørnsten and one by Juan de la Rica, which reframes the whole thing as something more mischievous.
The walls are hung salon-style, one side per artist, with both artists showing oil on canvas works and works on paper, priced from €1,200 to €9,000 ($1,367 to $10,256). On Bjørnsten’s side, thick, pastel-frosted oil paintings and colored-pencil-on-paper works map the consumer landscape with the candy-crush cheerfulness of 1950s American diner graphics, framed in pink. On the other wall, de la Rica’s flat, saturated portraits and mythological scenes are all framed in cobalt blue.
Based on a true story, 2026
Luca Bjørnsten
Albert Contemporary
Sketch for "Mujer con Cisne", 2026
Juan de La Rica
Albert Contemporary
Flores Rosas, 2026
Juan de La Rica
Albert Contemporary
Sketch for "Naturaleza Muerta con Botella y Jarra", 2026
Juan de La Rica
Albert Contemporary
Sketch for "Mujer de Espaldas", 2026
Juan de La Rica
Albert Contemporary
Bañista con bikini verde, 2025
Juan de La Rica
Albert Contemporary
Andrómeda encadenada, 2025
Juan de La Rica
Albert Contemporary
Echoes of a Sunset, 2026
Luca Bjørnsten
Albert Contemporary
Blurred Intimacy, 2026
Luca Bjørnsten
Albert Contemporary
As If, ALF!, 2026
Luca Bjørnsten
Albert Contemporary
♫ (suspiciously seductive melody) ♫, 2026
Luca Bjørnsten
Albert Contemporary
Two de la Rica works sold first: Mujer con Cisne (2026), a reimagining of the Greek myth of Leda and the Swan, and the small surrealistic sketch Nocturnidad (2026). The cohesive blending helped make the case to buyers that the works of both artists would pair effortlessly. “The languages are very different, but there are similarities,” Kvium told Artsy. “This percussive, colorful explosion of both nostalgia and humor.”
Galeria Mayoral
Booth B4
With works by Oriol Enguany
In Oriol Enguany’s 777 (2026), a yellow, wide-eyed figure assembled from rough timber and painted boards leans against its own easel, transplanted into the far wall of Galeria Mayoral’s booth. The 31-year-old artist’s works can also be found on the FECOEV grounds outside, his wild forms bringing a raw energy to the fair’s geography. A self-taught sculptor and painter from Reus, Catalonia, he works outdoors on an olive farm where wind, light, and temperature directly shape the pieces.
Another standout is La mà del mag (2026), a large-scale mixed-media work priced at €25,000 ($28,491) that incorporates found objects, its central figure seemingly frozen in the process of coming off the canvas. Paintings and sculptures come from the same physical process, made in the same open air, and the booth reads accordingly: rough, physical, and coherent.
777, 2026
Oriol Enguany
Galeria Mayoral
Compost, 2026
Oriol Enguany
Galeria Mayoral
A Ple Sol (In Full Light), 2026
Oriol Enguany
Galeria Mayoral
Baix Camp, 2026
Oriol Enguany
Galeria Mayoral
El pes de les paraules (The Weight of Words), 2026
Oriol Enguany
Galeria Mayoral
Es cert (It's True), 2026
Oriol Enguany
Galeria Mayoral
Flors (Flowers), 2026
Oriol Enguany
Galeria Mayoral
Guàrdia del Can (Guardian of Can), 2026
Oriol Enguany
Galeria Mayoral
La mà del mag (The Magician's Hand), 2026
Oriol Enguany
Galeria Mayoral
Mollerussa (1), 2026
Oriol Enguany
Galeria Mayoral
Mollerussa (2), 2026
Oriol Enguany
Galeria Mayoral
Petropaisatge, 2026
Oriol Enguany
Galeria Mayoral
Enguany’s Paris debut, “Transmission de pouvoirs,” at Mayoral earlier this year, was his first solo internationally, and CAN provides a clear look at why the gallery, founded in 1989 and best known for its post-war Spanish canon, has bet big on a 31-year-old newcomer. One mixed-media painting, Petropaisatge (2026), featuring two vibrant yellow flowers, was on hold after preview day for €17,000 ($19,374).
Secteur Privé
Booth C13
With works by Ana Monsó, Leila Bartell, Anna Lugovska, Soojin Choi, and Fiona von Fürstenberg
Among passing shadows, 2025
Anna Lugovska
Secteur Privé
For its third appearance at CAN—after one previous Ibiza trip and one Madrid showing—the woman-owned Secteur Privé arrived with a booth that had one of the fair’s clearest points of view: five emerging female artists, one presentation united by intentionally accessible prices, ranging from €2,000 ($2,279) for Anna Lugovska’s “Spaces” series of oil paintings up to the €12,500 ($14,245) ceramic piece What This Could Be (2024) by Soojin Choi.
One of the most hypnotizing additions to the range of works is actually the gallery’s last-minute addition From the Inside Out, the Center Blooms (2026), a kaleidoscopic swirl of color (priced at a reasonable €6,500, or $7,407) by Fiona von Fürstenberg that pulls the eye from across the floor. It’s offset by works from Leila Bartell’s 2025 “Memory Fields” series, priced from €3,600 to €7,200 ($4,102 to $8,205). Rounding out the booth is Ana Monsó’s 2026 “Un silencio en particular” series, adding a further register of deliberate restraint, priced between €6,800 and €9,000 ($7,749 and $10,256).
Spaces 3, 2026
Anna Lugovska
Secteur Privé
De dentro para fora, o centro se aflora (From the Inside Out, the Center Blooms), 2026
Fiona Von Furstenberg
Secteur Privé
What This Could Be, 2024
Soojin Choi
Secteur Privé
You Never Knew, 2022
Soojin Choi
Secteur Privé
Un silencio en particular 1, 2026
Ana Monsó
Secteur Privé
Un silencio en particular 9, 2026
Ana Monsó
Secteur Privé
Un silencio en particular 5, 2026
Ana Monsó
Secteur Privé
Amber air, 2025
Anna Lugovska
Secteur Privé
Spaces 1, 2026
Anna Lugovska
Secteur Privé
Spaces 2, 2026
Anna Lugovska
Secteur Privé
Da bruta rocha; a gruta desbrocha (From the brute rock; the grotto emerges), 2025
Fiona Von Furstenberg
Secteur Privé
A flor há secar-se para reflorescer (the Flower Must Dry in order to Bloom Again), 2026
Fiona Von Furstenberg
Secteur Privé
Shadows 1, 2025
Anna Lugovska
Secteur Privé
Shadows 2, 2025
Anna Lugovska
Secteur Privé
Shadows 3, 2025
Anna Lugovska
Secteur Privé
Morning Light, 2026
Anna Lugovska
Secteur Privé
Endless Maybe, 2025
Leila Bartell
Secteur Privé
Memory Fields 8, 2025
Leila Bartell
Secteur Privé
Memory Fields 13, 2025
Leila Bartell
Secteur Privé
Memory Fields 11, 2025
Leila Bartell
Secteur Privé
The London and L.A. gallery—whose home base is a converted private residence, a concept they carry into every fair—dressed the booth with tropical plants, a woven rattan bench, and a reed diffuser tucked beside a bird of paradise, giving it a more living-room than white-cube feel. It works immediately, disarming the sometimes sterile booth structure, and speaks to Secteur Privé founder Colette Gibson’s confidence in CAN. “I said this last year, but I think this is going to be a really important fair,” she told Artsy. “It’s new, but it’s already shifted the culture in Ibiza, which is fantastic.”
IOMO Gallery
Booth A8
With works by Billy Gibney, Graham Silveria Martin, Mircea Roman, Nathan Ritterpusch, and Zoe Schweiger
IOMO made its CAN debut with one of the fair’s most quietly confident bets. Anchoring the booth are three monumental wood sculptures by Mircea Roman—the reclining two-figure tableau Pieta (2013) on the floor, a standing sphinx-like figure Doamna mâță (2004), and a third with a red-framed television, Coajă de om (2013). Ranging from €60,000–€150,000 ($68,378–$170,946), they give the booth a weight that makes the Bucharest-based gallery stand out.
Roman is 67, a grand prize winner at the Osaka Triennale and a Venice Biennale veteran, but remains largely unknown outside Romania. Framing his works are those by four younger international painters—Billy Gibney, Graham Silveria Martin, Nathan Ritterpusch, and Zoe Schweiger. Ritterpusch’s paintings stand out, with faces rendered in deliberately low-quality haze reminiscent of faded newspaper or television ads.
Pieta, 2013
Mircea Roman
IOMO Gallery
Sunny Afternoon, 2025
Zoe Schweiger
IOMO Gallery
Try Asking Someone Who Cares #14, 2026
Nathan Ritterpusch
IOMO Gallery
Try Asking Someone Who Cares #9, 2025
Nathan Ritterpusch
IOMO Gallery
Cabin II, 2025
Graham Silveria Martin
IOMO Gallery
Private Eye, 2026
Billy Gibney
IOMO Gallery
Home Body, 2026
Billy Gibney
IOMO Gallery
“Mircea Roman is established in Romania but not known internationally,” said gallery director Elena Chirila, “and the opposite is true too—we’re introducing fresh voices from outside to Romanian audiences.” Judging by the foot traffic filtering into the busy booth, the dialogue is landing.
