Brussels’ exhibition spaces are a vibrant mix of history and innovation, offering everything from Flemish masters at the Royal Museums to Surrealist explorations at the Magritte Museum. Contemporary spaces like BOZAR, Xavier Hufkens, and Almine Rech showcase experimental and boundary-pushing works.

Brussels Expo is once again pulsating with energy as the 71st edition of BRAFA opens its doors, a special fair where history and contemporary creativity meet. Running until Sunday, February 1st, the event is far more than a marketplace for collectors; it is an experience in which every booth invites discovery.

Among the most compelling moments this year is the rediscovery of a study head by Peter Paul Rubens, Portrait of an Old Man, presented at the stand of Klaas Muller. This delicate oil-on-paper sketch, used for several apostles in larger compositions, offers an intimate glimpse into the Flemish master’s working process, revealing the careful attention and subtle gestures behind some of the most celebrated paintings of the 17th century.

The dialogue between past and present is further enriched by Gildens Art Gallery’s complete suite of fifteen original etchings and drypoints by Pablo Picasso from his Saltimbanque Suite (1904–1905). Depicting itinerant performers, street acrobats, and circus entertainers, these prints distill movement, character, and emotion with astonishing economy of line. Each figure carries an intensity that is intimate, a testament to Picasso’s ability to capture the human condition with minimal but masterful strokes.

Contemporary works resonate with equal force, none more striking than Ai Weiwei’s The Death of Marat (2025), presented at the Patrick Derom Gallery stand. Composed of 75,000 LEGO bricks, the monumental piece reinterprets Jacques-Louis David’s iconic depiction of the revolutionary’s assassination, transforming it into a pixelated, modern meditation as social commentary. The work, playful yet uncompromising, challenges viewers to consider how narratives of power, and rebellion are translated and enhanced to become art.

The fair also pays homage to the visionary spirit of Surrealism through Die Galerie’s presentation of a monumental sculpture by Max Ernst. Mythology, dream, and inventive use of form are central themes to this remarkable work.

Beyond the gallery stands, BRAFA offers a collateral programme that deepens engagement with art, fostering dialogue and education in equal measure. With a valid entrance ticket, visitors can attend daily events such as lunchtime concerts by young musicians supported by the King Baudouin Foundation, lectures on the Foundation’s collection, and discussions with leading figures in the art world. Guided tours, thematic talks, and interactive sessions extend the experience beyond observation.

This is the unique alchemy that BRAFA achieves year after year, proving that in Brussels, the pool of collectors and museum collections are alive.

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Images: Rembrandt van Rijn (Leiden 1606-1669 Amsterdam), Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630, Etching and drypoint on laid paper and A&R FLEURY, BRAFA 2026 – A&R Fleury © Emmanuel Crooÿ