FIAC closed its doors Sunday night after four days of healthy sales by a wave of international gallerists, who quickly switched their VIP vernissage suits for thick jackets and wool hats as the autumnal chill seeped into the Grand Palais. An initial collector’s run at the Wednesday opening slowed to a steady stream, as buyers took their time and, despite a handful of million-dollar sales, mostly acquired smaller, mid-priced works.

Gagosian's was the only booth with private security guards, who kept their watchful eyes on a small Giacometti sculpture and an Andy Warhol painting. The dealer unsurprisingly scored one of the fair's largest sales, handing over a 2009 untitled Richard Prince Nurse piece for "between two and three million dollars." A smaller Prince work, based on "Nurse at the Fair" and coupled with the Dorothy Cole book of the same name, went first for $250,000.

Anish Kapoor's immensely eye-popping "Slug," priced at £1.8 million ($2.8 million) was "in the process" of being sold at the close, said Kamel Mennour. The Parisian gallerist had otherwise sold out and then some, swapping out every work in his booth by about half-way through the fair. Mennour was one of the few gallerists to still welcome visitors on the final day. "I'm professional, I stay until the very end," he said, touting a black-and-white David Hominal canvas that reprises Walt Whitman's "The Complete Poems," which sold to a "collector that I know very well and whom I would be delighted to visit to see the piece again."

New York dealer Van de Weghe moved two Basquiat paintings, "The Whole Livery Line" for $1.1 million and a smaller, untitled 1981 work for $600,000. A more expensive Basquiat, the $2.8 million-tagged "Desmond," stayed, as did the $2.9 million dollar Alexander Calder mobile "Lune Blanche."

Per Skarstedt found no buyers for "Anyone Can Find Me," one of Richard Prince's more abstract, joke paintings. "It’s unique and still looking for the right collector," said the gallery's Valerie Marquez. "We sold everything on the outside walls, which is atypical," she added. George Condo's large "Mother and Child" painting left the gallery booth for $350,000.

Dealers cited FIAC’s new internationalism — the fair had 123 foreign galleries this year — as the main draw. "The last time we came, it was so... French!," said Bruno Brunnet of Berlin gallery Contemporary Fine Arts, which made its first FIAC appearance in eight years. "Now it’s international. The overlap of visitors with London is minimal, the crowd is completely different. It’s very bourgeois, it’s another world, so we have no problem doing both and we will certainly return." The gallery predictably didn't sell an enormous Jonathan Meese painting (approximately 33 by 16 feet), but had luck with smaller works, among them newcomer Max Frisinger's mechanic box installation "Rising (Yoko Ono)" at €35,000 ($49,000).

Lehman Maupin sold Tracy Emin neons to collectors from Switzerland, Brazil, and the Middle East, for between £38,000 and £65,000 ($53-91,000). "Paris has really changed; there are more collectors now. Each fair has its own personality and it’s clear that FIAC's has developed. There's an atmosphere of quality and a certain intimacy," David Maupin said.

Victoria Miro bet on a Yayoi Kusama solo show and sold well, including two of the Japanese artist's "Reach up to the Universe" dotted pumpkins for $500,000 apiece. David Zwirners Adel Abdessemed gamble sold out, with the wall-filling "Silent Warriors" masks and the bulky block of dead animals "Taxidermia" going for $280,000 each.

Vedovi of Brussels managed reserves on Takashi Murakami's "Kiki" at $1.6 million and Basquiat's 1985 "Enob" at $1.9 million on the last day. "Collectors are waiting longer, they’re thinking more deeply, and they need more advice," the gallery’s Martin Desfosses said. A floor mosaic of aluminum and magnesium squares by Carl Andre was tentatively sold for $2.4 million — the prospective buyer still needed to confer with his architect.

Overall attendance at the fair stood at more than 85,600 visitors, up six percent from last year, as Parisians and foreign guests alike were badgered by a wealth of contemporary art offerings around the city, from the Basquiat retrospective at the Musée d’Art Moderne de la Ville de Paris to Murakami at Versailles.

"We had to all work together to bring Paris back on the international stage, to offer a complete view of its dynamic and lively nature," fair director Jennifer Flay told ARTINFO France before the opening. "Art Basel is still the world's most important contemporary and modern art fair, but there’s a tie for second place between Frieze, Miami, and FIAC," she said. "We are more generalist than Frieze; and Paris, globally, has much more to offer than Miami. FIAC is very well placed."