The artist Do Ho Suh created his first “Hub” sculpture as a cloth model of his residence that might collapse to suit into a suitcase.
“The idea was how to take your memory and your culture with you in a suitcase and give yourself some comfort when you’re in another country,” defined Rachel Lehmann, co-founder of the Lehmann Maupin gallery, which is bringing one in all his hubs to Art Basel, in collaboration with the gallery Victoria Miro.
But through the years, Mr. Suh’s “Hubs” have grown. The one he’s going to current at Art Basel within the honest’s Unlimited part traveled to Switzerland in a number of crates.
The work, “Hub, 260-7 Sungbook-Dong, Sungbook-Ku, Seoul, Korea,” of 2017 is 33.5 ft lengthy, and regardless of its delicate look, isn’t light-weight both, due to the very skinny stainless-steel body that provides it construction.
Creating area for such formidable, monumental works was the first thought behind Unlimited, the 156,000-square-foot exhibition area at Art Basel dedicated to artwork that merely can’t match into a commonplace gallery sales space.
Since it was begun in 2000, Unlimited, which is obtainable solely on the honest in Basel, has proved to be a notably widespread draw. Most folks attending the honest — there have been 95,000 final 12 months — are anticipated to go to the part, not solely for the sheer wow issue of the works, but in addition for the relevance of its choices.
“I often tell people that Unlimited is to some extent curated by the zeitgeist,” Marc Spiegler, international director of Art Basel, stated in a phone interview.
This 12 months, 75 large-scale initiatives, together with movie, video and digital actuality installations (which might’t be proven in a sales space), are on view, with items by established names corresponding to Larry Bell, Duane Hanson, Fiona Tan and Franz West, together with work by rising artists corresponding to Kapwani Kiwanga and Bunny Rogers.
Mr. Suh’s work isn’t essentially the most important piece on this 12 months’s Unlimited part. The artist Valentin Carron’s 2018 “Dust Mint,” at 21 feet high, may be the tallest, according to organizers of the fair, and Vajiko Chachkhiani’s 2018 piece “Flies Bite, It’s Going to Rain” is probably the heaviest, weighing in at 11 tons.
Other works surpass the limitations of a booth for other reasons: An installation by the Brazilian artist Hélio Oiticica, “Projeto Filtro-Para Vergara” from 1972, is made up of several compartments in which visitors experience color; one of them contains gallons of orange juice.
“Ovoid Solitude,” a new work by the Kosovar Albanian artist Sislej Xhafa, features a nearly 80-year-old Cuban egg seller, who will work from a replica of his real shop in Havana. The artist arranged for all the necessary visas to get the egg seller out of Cuba for the first time in his life and explores issues “about walls, borders, divisions,” said Lorenzo Fiaschi, director of Galleria Continua, which is presenting the piece.
Unlimited “shows you what is possible, basically,” said Gianni Jetzer of the Hirshhorn Museum and Sculpture Garden in Washington, who is curating the section for the last time.
Unlimited also reflects the fact that contemporary art, over the years, has grown larger and is often far more complicated to display than a classic oil painting or sculpture. But as the number of private art foundations and private museums has increased, pieces no longer have to fit into a living room.
“Partially because we put this into play, people started to think of this more as something that you would put into your home,” Mr. Spiegler said. “More and more collectors either have built private museums or have moved from the classic Fifth Avenue apartment into former industrial spaces, which are much larger.”
Ms. Lehmann agreed that the pieces her gallery brings to Unlimited tend to end up in the hands of private collectors. “Our experience is that private foundations are more likely to buy these works,” she said. “We have not sold out of Unlimited to public museums as much.”
Peter Freeman, who has galleries in New York and Paris, said he had presented in Unlimited about 10 times. Most of the work has been sold to museums or private foundations, including a 98-foot-long Mel Bochner painting that was bought by the Guggenheim Abu Dhabi and a Robert Rauschenberg work from 1970 of about 59 feet, purchased by the Los Angeles County Museum of Art.
This year, his gallery will present new video works by Ms. Tan, as well as a major installation by the German artists Anna and Bernhard Blume, a couple who worked together until Bernhard’s death in 2011; Anna is now 82.
The multipanel piece, “Im Wald (In the Forest),” is one of the largest they made together, consisting of a series of 22 black and white gelatin silver prints, each about 8 feet by 4 feet, arranged in a row that is more than 98 feet wide.
“They had a solo show at the Centre Pompidou in Paris, and they’re quite well known in Germany, but they don’t get shown so much because it does take up so much space,” Mr. Freeman said. “It’s another example of why you need a space like Unlimited to be able to show that work.”