Fair Warning

The Crude Oils. Banksy’s most sought-after series. This is the one that brings it all together. On view at Tiffany & Co. Fifth Avenue. Free and open to the public. Auction May 20. Register → link in bio.

The red balloon. The grey landscape. The girl. First painted as a graffiti mural in London in 2002. By 2017, voted the UK’s favorite artwork — surpassing Turner, Constable, and Hockney. This is that image. On a found landscape. Executed 2012. Estimate: US $13 - 18m On view now at Tiffany & Co. Fifth Avenue, New York Auction May 20. Register to bid → link in bio.

Make no mistake: Banksy is the most consequential artist of his generation, and probably one of the best. If you’re reading this and instinctively disagree, or even feel a slight irritation at the mention of his name, it’s not entirely your fault. The algorithm that brought you here likely knows you’re from the art world- and the art world’s reflex is to scoff. To raise an eyebrow. To perform distance. And yet, privately, many of you respond to the work. You just can’t afford to admit it. Because acknowledging Banksy means stepping outside the approved language of the field, and that comes at a cost. Imagine your favorite gallery presenting a Banksy at Art Basel or TEFAF. The reaction wouldn’t be curiosity, it would be disciplinary. Banksy is the rare case the system didn’t produce—and therefore cannot control. He didn’t come up through galleries, curators, or institutional validation. He bypassed all of it. Even outsiders like Maurizio Cattelan or Marcel Duchamp ultimately operated within, and were absorbed by, the system they critiqued. Banksy didn’t ask for permission, he never needed to. And that is the problem. The art world can tolerate rebellion, as long as it authors it. What it cannot tolerate is autonomy at scale. Because autonomy implies irrelevance of the gatekeepers. So the only viable strategy is dismissal. Ignore it. Minimize it. Treat it as spectacle rather than substance. We’ve seen this before. When Jean-Michel Basquiat emerged, the establishment largely pretended he didn’t exist. Museums hesitated. Boards resisted. It took a generation for consensus to catch up with reality. The same pattern is playing out again. “Girl with Balloon in Found Landscape” from the Crude Oil series is arguably Banksy’s strongest work that compresses icon, irony, and cultural memory into a single image. The rest is just timing. In twenty years, Banksy won’t just be accepted—he’ll be unavoidable. Banksy, Girl with Baloon on Found Landscape, 2012, estimate $13-18m See the work @tiffanyandco on with 5th Avenue, Auction the 20th of May mit @artpylkkanen @Banksy #Banksy @loicgouzer

A Crude Oil from the most consequential artist of our time on view at Tiffany & Co.’s Landmark Building Banksy, “Girl and the Balloon on Found Landscape”, 2012 Estimate: US $13 - $18m Visit the work in person at Tiffany & Co.’s Landmark Building - 727 5th Ave Auction: May 20th, 2026 #FairWarningArt #OneLotAtATime #Banksy

ANDY WARHOL Skull (Orange Skull), 1976 Auction: Monday, May 11th at 5pm ET (Sharp) Register to bid in the app. Link in profile. 💀 🤚#fairwarningart #onelotatatime #andywarhol #andywarholart

ANDY WARHOL Skull [Orange Skull], 1976 Acrylic and silkscreen ink on canvas 15 x 19 inches (38.1 x 48.3 cm) Auction: MONDAY, May 11th, 2026 at 5 PM ET (sharp)
 Explore the lot in the app.

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#FairWarningArt #OneLotAtATime #ANDYWARHOL #skulls

ANDY WARHOL Skull [Orange Skull], 1976 Auction: Monday, May 11th, 2026 at 5 PM ET (sharp)
 Explore the lot in the app.

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 #FairWarningArt #OneLotAtATime #ANDYWARHOL #skulls

Fair Warning introduces No Warning. For those who don’t hesitate. A work appears, without announcement, without trace. You either take it, instantly… or you make your move. One offer. Your best. Your final. It is binding for 72 hours. It travels silently, anonymously, directly to the seller. No signals. No second chances. You won’t know who else is watching. You won’t know if you’ve been outbid. We will never reveal how many offers exist or where they stand. So you either commit… or you let it disappear. If certainty matters, take it at the asking price. If not, say exactly what it’s worth to you. And a last warning: once it’s gone, it leaves no trace. No social posts. No past lots. No databases. As if it was never there. The new lot will go live following tomorrow’s auction. #fairwarningart

M’onma Untitled, 2004 Colored pencil on paper
28 1/4 x 20 7/16 in. (71.8 x 51.9 cm) Framed: 26 11/16 x 34 11/16 in. (67.8 x 88.2 cm) M’onma was born in 1951 on the island of Hokkaido, surrounded by temples and mountain paths worn smooth by centuries of pilgrims. His early life was unremarkable until, one afternoon in his studio, his body became luminescent — glowing with such intensity that the room around him dissolved into light. A presence entered him and guided his hand into drawings of raw, unrecognizable energy. Then it left. Discover more in the lot in the app.

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 Auction: April 23rd, 2026 at 5 PM ET (sharp)
 #FairWarningArt #OneLotAtATime #MONMA

M’onma was born in 1951 on the island of Hokkaido, surrounded by temples and mountain paths worn smooth by centuries of pilgrims. His early life was unremarkable until, one afternoon in his studio, his body became luminescent — glowing with such intensity that the room around him dissolved into light. A presence entered him and guided his hand into drawings of raw, unrecognizable energy. Then it left. Monma next auction @fairwarningart

M’onma Untitled, 2004 Colored pencil on paper
28 1/4 x 20 7/16 in. (71.8 x 51.9 cm) Auction: April 23rd, 2026 at 5 PM ET (sharp)
 Explore the lot in the app.

🤚

#FairWarningArt #OneLotAtATime #MONMA

If you have trouble sleeping I highly recommend listening Lex Friedman podcast. The combination of his languid voice and the sheer amount of mental energy required to keep up with his discussion creates the perfect terrain to knock you out. The last episode I listened to was an interview on the mechanics behind SMR-derived energy -small modular nuclear reactors. I did not understand much of it, but I was reappraised with the concept of fusion: two nuclei, not naturally meant to come together, are forced into one another, releasing a massive amount of energy. Figuration and abstraction are like two antagonistic, if not irreconcilable, molecules, each with its own quantum properties, not meant to mix. Yet in the 20th century, a few mad nuclear artist-scientists - think de Kooning, Dorothea Tanning, and, more recently, Cecily Brown - attempted, through immense pictorial pressure and coercion, to fuse figuration and abstraction into one. They would then step back and observe the result. And when the experiment did not fail - because it often did - the outcome was, as you might expect, a massive release of pictorial energy. You do not need to be Oppenheimer to see that this is exactly what is happening in the present painting, whose off centered nucleus turns into a smoltering and convulsing magma that twist and turns the entire force field of the canvas. Having been in the shadows of her husband Max Ernst people are now just awakening to the genius of Tanning , for now they are still chasing here surealist years, but her biggest contribution to the science of art in my mind is this present series. Do yourself a favor and go to MOMA and see their recent Tanning acquisition Dogs of Cythera and you will see for your eyes that this may have been art E=mc2 moment with one little difference its was discovered by a woman. Dorothea Tanning, « Ignoti Nulla Cupido » 1960 Next auction @fairwarningart #Tanning #DorotheaTanning