‘It is very natural for a snake to eat its tail for a little while, then eventually it realizes what it’s doing and stops.’ This is how Pace supremo Glimcher described the slowing art market in September. Glimcher was giving interviews in Seoul ahead of the gallery’s James Turrell exhibition, a month before Pace closed its Hong Kong space (it will retain an office). Speaking at Art Basel in June, he was less poetic: ‘There’s a long-awaited recalibration in motion.’ It is the major names who will keep doing business, he reckons (though for Pace, Yoshitomo Nara, an artist lost to David Zwirner, will not be among them). At Pace’s new Berlin space, Glimcher paired Robert Nava with works by Jean-Michel Basquiat and Jean Dubuffet, while in New York there were shows by the estates of Agnes Martin and Antoni Tàpies. But if Turrell signalled for Glimcher ‘the importance of art as an experience and a place’, then maybe the future is immersive: in April the 17,000sqm Phenomena Abu Dhabi opened, the world’s largest digital art museum, dedicated to teamLab, the Japanese experiential collective Pace has long represented.