The Guardian does a broad overview of Art Dubai. For our purposes, there are sales recorded though not with much in the way of prices:
Art Dubai is not like western art fairs: it doesn’t have the quality that connoisseurs are accustomed to at Basel or London’s Frieze. No works featuring nudity or obvious political content are allowed (of which more later); there is an exclusive “women’s day” for the sheikh’s wives to roam around and add to their collections; and it has more accompanying exhibitions, installations, talks, tours, prizes and passion than one person could possibly absorb. In short, it feels like Dubai is trying to prove something here. Perhaps that it does indeed possess the culture that it is derided for lacking? […]
So someone like Javier Peres, the hip LA and Berlin gallerist who’s right at home at a fair such as Art Basel Miami Beach, felt like a fish out of water the first time he participated in Art Dubai. “I had to look up where the United Arab Emirates was on Google before coming here,” he said. “I admit my stupidity.” By the second day, though, he had already made more money than he did at the recent Armory Show in New York, mostly by selling a few Dan Colen paintings. As for the rest of the works on show, mostly from the Middle East, Peres said: “I don’t know how to look at it. If I respond to it instinctively, with my gut, fine. But I don’t understand it.”
That’s true of a lot of art in galleries such as ATHR from Jeddah or even the Middle East-dominated New York gallery Leila Taghinia-Milani Heller (which reported such rapid sales that “we haven’t even had time to invoice”). But, amid the newness of the fair, there are moments of familiarity. A squat toilet by Iranian artist Behdad Lahooti is an obvious homage to Duchamp’s urinal, except Lahooti has charged his with political meaning by covering it with conjugations of the verb “to be free” in Farsi. Tehran’s Aaran gallery sold the piece on the first day for $4,700, to French collectors.
Over at the Third Line gallery, Dubai’s local powerhouse, a diptych of black holograms by Babak Golkar create the illusion of a circuit around the Ka’aba; the piece is called From God to Malevich. At Sfeir-Semler gallery, which has branches in Hamburg and Beirut, Etel Adnan’s stunning, Andreas Gursky-style photographs of the Golan Heights are loaded with anger and cold-eyed beauty.