| The Perez Bros. Image courtesy of Charlie James. |
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| Across our community, September brings a new wave of exhibitions, openings, and programs, and this month’s Untitled Circle gathers a selection of highlights to see as the season begins.
With the second edition of Untitled Art, Houston approaching October 2–4, following a VIP and Press Preview on Thursday, October 1, ahead of our return to the Bayou City we celebrate the artists and galleries whose programs continue to shape the communities we gather within. |
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| Masamitsu Shigeta: Below the Surface SITUATIONS, New York
Opens Thursday, September 10
The solo presentation at SITUATIONS marks a new direction in Shigeta’s practice, foregrounding wood carving as a means of constructing the image itself. In still lifes of potted plants and cityscapes, quiet details emerge through incised lines and carved forms, revealing pattern and texture across the surface. Sunlight, the outline of a tree, and grids of skyscraper windows are built through layers of paint, while scratching and cutting back into the surface introduces contrasting colors and textures. |
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| The Perez Bros.: Lookout Weekend Charlie James, Los Angeles
Opens Friday, September 11
Working collectively as The Perez Bros., twin brothers Alejandro and Vicente Perez capture the passion, precision, and flair that defines the lowrider car culture of their native Los Angeles with Charlie James. With this new body of work, the brothers invite the viewer into the garage in the lead-up to a car show/cruise night, capturing tuneups, polishes, and other careful preparations that make a car show-ready. The exhibition culminates in one of their largest works to date, solidifying both the car show and the exhibition as a gathering place for one of the city’s most iconic subcultures. |
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| | Alex Breaux, between here and there, 2026. Image courtesy of QUEUE Gallery. |
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| Alex Breaux: Closed For Storm QUEUE Gallery, Miami
Through Saturday, September 12
For her first solo presentation with QUEUE Gallery, Breaux explores the interplay between abstraction and representation through the tension between static and dynamic forms, allowing memory, movement, and stillness to coexist within the same pictorial space. Raised predominantly in Miami after her family relocated from New Orleans following Hurricane Katrina, she draws from personal archives and recollections of both cities, layering photographs digitally before translating them into paint as an act of preservation. |
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| Anina Major: SOON COME HOME TERN, Nassau
Opens Wednesday, September 16
Major’s second solo presentation expands beyond the intricate hand-woven ceramic forms for which she is known, rooted in the palm-leaf plaiting she learned from her grandmother, to incorporate glass, found objects, neon, and larger sculptural environments. Drawing its title from Erna Brodber’s Jane and Louisa Will Soon Come Home, the exhibition at TERN brings material tradition into dialogue with displacement and return, tracing the ways cultural memory can be carried forward while taking on new forms. |
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| Diana Solares and J.J. Estrada T. La GalerĂa Rebelde, Guatamala City
Through Friday, September 18
At La GalerĂa Rebelde, new works by the artists consider how material, landscape, and perception shape the ways we encounter our surroundings. Working across sculpture and photography, the two artists approach form as a site of transformation whether through the physical tension of balance, texture, and spatial relationships, or through images that shift between observation and abstraction. Together, their practices invite a slower mode of looking, drawing attention to the quiet ways matter, memory, and place can become carriers of meaning.
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| | Jorinde Voigt, Trust and Rain in June II, 2020-21. Image courtesy of Sicardi | Ayers | Bacino. |
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| Jorinde Voigt: Trust and Rain Sicardi | Ayers | Bacino, Houston
Opens Saturday, September 19
Gesture and precision coexist throughout the exhibition at Sicardi | Ayers | Bacino, where biomorphic forms, geometric structures, and shifting surfaces emerge through collage, mirror, pastel, and gold leaf. The artist’s mathematical rigor is continually offset by a more intuitive, sensory approach, allowing each work to move between calculation and instinct. Across the presentation, these formal tensions become a means of exploring questions that are at once personal and expansive, touching on existence, perception, and the natural world.
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| Kosuke Kimura: My Current Position YOD Gallery, Tokyo / Osaka
Opens Saturday, September 19
Known for layering photographs, architectural drawings, text, anatomical imagery, and other visual fragments, Kimura’s solo presentation at YOD Gallery constructs compositions that resist a single point of view, instead asking how meaning emerges through accumulation, memory, and perspective. Taking its title from a phrase that has recurred throughout his practice, the exhibition considers “current position” not simply as a place, but as a way of locating oneself within time, looking back at what has been traversed while remaining attentive to what lies ahead.
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| | Kelly Tapia-Chuning Installation Shot. Image courtesy of Kouri + Corrao. |
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| Kelly Tapia-Chuning: Dreaming between Worlds / Tethering the Untethered Kouri + Corrao, Santa Fe
Through Saturday, September 26
In her first solo presentation with Kouri + Corrao, Tapia-Chuning transforms dismantled vintage Mexican serapes into new textile works that explore memory, ancestry, and states of transition. Moving through themes of dream states, astronomical cycles, loss, and renewal, the Miami-based artist reconfigures inherited materials into compositions that feel both grounded and otherworldly. Shifts in color, scale, and density carry the exhibition from light into darkness, framing change itself as a space for reflection, protection, and regeneration. |
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| Crying is Just Wet Laughter Nature of Things, Dallas
Through Sunday, September 27
Comedy and tragedy are never entirely separate in Nature of Things’s group exhibition. Moving between humor, melancholy, absurdity, and tenderness, the presentation considers the contradictions that shape emotional experience, and the uneasy proximity between what makes us laugh and what makes us cry. Spanning distinct generations and approaches, the works find possibility in that tension, suggesting that joy and sorrow may be less opposites than different expressions of the same human impulse. |
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| | Christo, Wrapped Voting Machine, 2004. Image courtesy of Hexton Gallery. |
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| MATERIALITY Hexton Gallery, Aspen
Through Wednesday, September 30
Hexton Gallery's exhibition considers how artistic ideas shift, recur, and evolve across generations. Grounded in Aspen’s history as a meeting point for creativity and intellectual exchange, the exhibition places contemporary practices in dialogue with influential twentieth-century figures, tracing continuities in experimentation, material, and form. Past and present remain in active conversation among the artists, revealing how innovation is continually reworked through new contexts and new modes of making. |
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