As we look towards our milestone anniversary in Miami Beach, we begin the first newsletter in our series by highlighting galleries joining us across both editions of the fair this year.
Following Untitled Art, Houston next month, 26 galleries will continue on to December, reflecting the relationships, perspectives, and artistic practices that connect our two fairs while giving each edition its own distinct context.
From emerging programs to longstanding exhibitors, these galleries represent a cross-section of the wider Untitled Art community, bringing presentations shaped by different artists, contexts, and conversations to audiences in both cities. |
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Pauline Guerrier, Robert Sagerman, Murray Clarke, and Quirin Krumbholz IRL Gallery, New York
Presented by IRL Gallery, the works explore materiality, process, and perception through straw marquetry, textiles, handmade pigments, densely worked paint surfaces, and reflective or kinetic elements. Layered and tactile, they shift between abstraction and representation, stillness and movement, revealing how physical materials can shape both visual experience and meaning while inviting sustained looking and discovery. |
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Stella Snead, The Shell Company, 1972-73. Image courtesy of Richard Saltoun Gallery. |
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Juliana Seraphim, Stella Snead, Manina, and Samira Abbassy Richard Saltoun Gallery, London / Rome / New York
Richard Saltoun Gallery presents Untamed: Flora, Fauna, and the Female Surreal, bringing together more than a century of artistic practice. Moving between historical Surrealism and contemporary approaches, the presentation considers flora and fauna as conduits for interior knowledge, spirituality, memory, and transformation. Dreamlike landscapes, hybrid figures, and recurring natural motifs are prevalent, and the artists reclaim the natural world as a space of feminine agency and transcendence.
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David McGee Inman Gallery, Houston
McGee draws on art history, literature, popular culture, and the legacies of the American Civil War to examine Black male archetypes, visibility, and how history is constructed and remembered. Exhibited by Inman Gallery, large-scale watercolors and intimately scaled works on paper use symbolic imagery and layered references to transform overlooked or obscured figures into protagonists, tracing the enduring relationship between personal identity, cultural memory, and Black American history.
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Alex Puz, Synaptic Modulation, 2026. Image courtesy of PFA Gallery. |
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Alex Puz PFA Gallery, Washington, D.C. / Kensington
New work by Puz at PFA Gallery brings together paintings and works on paper that explore the relationship between color, perception, and sensation. Through tightly layered networks of intersecting lines and complementary hues, Puz creates shifting compositions that move between geometric precision and optical instability. Oscillating moiré patterns and chromatic rhythms draw the eye across the surface, transforming the booth into an immersive study of how visual information is processed, felt, and understood.
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Nanni Valentini, Gastone Biggi, Filippo Moroni, and Bernardo Liu ABC-ARTE, Genova / Milan
At ABC-ARTE, layering becomes a way of constructing both image and meaning. In presenting painting, sculpture, textile, and mixed media, the works build surfaces through repetition, accumulation, translucency, and transformation. These stratified compositions hold traces of time, memory, rhythm, and material change, allowing forms to emerge, recede, and shift in perception. The artists consider the surface not as a fixed boundary, but as an active space where histories and materials continuously overlap and evolve.
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Julia García, Late Afternoon, 2025. Image courtesy of HAIR+NAILS. |
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Cameron Patricia Downey and Julia García HAIR+NAILS, Minneapolis / New York
For HAIR+NAILS, contrast becomes the connective thread. Bringing sculpture and painting into close proximity, the presentation moves between density and openness, precision and spontaneity, material presence and psychological suggestion. Rather than resolving these differences, the works amplify them, creating an atmosphere that feels unsettled, expressive, and alive to the possibilities of how form can carry memory, sensation, and lived experience.
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Giuditta Branconi LUPO Lorenzelli Projects, Milan
In LUPO Lorenzelli Projects' presentation, the garden becomes a site of transformation, where mythology, memory, ornament, and contemporary imagery converge. In a new body of linen paintings by Branconi, figures, flora, and fauna emerge within dense, luminous compositions that move between the sacred and the profane, the cultivated and the wild. Layered with art-historical and decorative references, they resist a fixed reading, instead inviting viewers into an immersive visual world shaped by abundance, ambiguity, and continual discovery.
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Ethan Cooke, Untitled. Image Courtesy of NINO MIER GALLERY. |
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Group Presentation including Liliane Tomasko, Nicola Tyson, Jose Lerma, Ethan Cooke, and Tony Matelli NINO MIER GALLERY, Brussels / New York
For NINO MIER GALLERY’s presentation, the body and landscape become sites of perceptual slippage. Moving between figuration and abstraction, the works distort scale, orientation, surface, and form to unsettle familiar ways of seeing. Natural phenomena, interior states, and the human figure are reimagined through exaggerated, fragmented, or psychologically charged visual languages, creating a presentation that explores how perception shapes, and often destabilizes, our understanding of the world around us.
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Summer Wheat, Horse with Strawberry, 2026. Image Courtesy of Zidoun-Bossuyt Gallery. |
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Feipel & Bechameil, Kim Dacres, Yashua Klos, Nate Lewis, Khalif Tahir Thompson, Summer Wheat, and YoYo Lander Zidoun-Bossuyt Gallery, Luxembourg / Dubai / Paris
Across Zidoun-Bossuyt Gallery’s presentation, material becomes a vehicle for storytelling. Through layered surfaces, collage, sculptural relief, cut paper, printmaking, and richly worked paint, the works explore how identity, memory, and collective histories are built, fragmented, and reassembled. Between figuration and abstraction, intimacy and monumentality, the presentation reveals a shared interest in transformation, both of materials themselves and of the personal and cultural narratives they carry.
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Kathleen Petyarre, Margaret Loy Pula, and Abie Loy Kemarre Mitchell Fine Art, Brisbane
Bringing together three generations of women from the same family, the presentation by Mitchell Fine Art traces the continuity of Aboriginal cultural knowledge through painting. Rooted in connections to Country, ceremony, kinship, and inherited stories, the works reveal how artistic practice can carry memory across generations while continuing to evolve in the present. Together, they consider painting as both a visual language and a living form of cultural transmission, linking ancestral knowledge with contemporary expression.
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Official Partners
The Official Partners of Untitled Art, Miami Beach 2026 are J.P. Morgan, Champagne Pommery, and By Michael Miller. Our Digital Partner is Vortic and Online Marketplace Partner is Artsy. With the support of the Miami Beach Visitor and Convention Authority. Additional partners will be released in the lead-up to the fair.
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