If Paris were a stage, the grand square of Place Vendôme just found its headliner: a 19.75-metre inflatable version of Kermit the Frog, courtesy of Alex Da Corte.

Two individuals in green frog costumes, one waving and smiling, inside a bright room with large green decorations.

Dropped into the heart of the city as part of Art Basel Paris 2025’s public program (October 20-26), this amphibious icon hovers above the cobbles with arms spread and head sagging, echoing a 1991 drama when a real Kermit balloon snagged on a tree during the Macy’s Parade.  

Person in a green frog costume with large eyes, waving their hand, next to a large green inflatable backdrop.

On the surface, it’s delightfully absurd. A giant inflated frog in one of Europe’s poshest squares. But Da Corte is playing with something deeper: the slip between pop-culture cheer and unease, the green of the frog as a symbol of “otherness” or eco-anxiety, and the idea that icons can deflate, literally and metaphorically. 

A person wearing a green outfit with yellow accents, representing a frog character, stands with their back toward the camera in an indoor setting. A large green hand sculpture is visible in the background.
A person dressed in a green frog costume stands in a bright interior space, holding a string attached to a large green inflatable object.
A group of people wearing green frog costumes with yellow accents, standing in front of an elevator.
A puppet character, Kermit the Frog, wearing black sunglasses and posing thoughtfully against a neutral background.
A large green inflatable creature dominates the scene, with oversized hands and eyes, while three individuals dressed in matching green attire stand in front of it.
A green puppet character wearing sunglasses, sitting thoughtfully on a modern white chair against a gray background.

Images © Copyright Alex Da Corte, COURTESY ART BASEL.


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Author

Ben VanderVeen is the founder and editor of Moss & Fog, one of the web’s longest-running visual culture destinations. Since 2009, he’s been finding and framing the most beautiful, surprising, and thought-provoking work in art, architecture, design, and nature — reaching over 325,000 readers each month. He lives in Portland, Oregon.

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