The 10 Best Booths at Untitled Art, Miami Beach 2024

With sunlight streaming through its tent and the sound of waves crashing along South Beach, Untitled Art, Miami Beach is a much-beloved event in a packed Miami Art Week schedule. On December 3rd at 10 a.m., a VIP crowd poured into the fair’s signature shoreline tent, greeted by champagne, coffee carts, and a beachside lounge that cut through any stuffiness between booths.

Indeed, the sunlit aisles also provided an ideal backdrop for art browsing. This year’s edition of the fair—its 13th—is Untitled’s largest yet, featuring 176 galleries (compared to 163 last year). This year, the participating galleries were curated under the theme “East Meets West,” guided by Kathy Huang, an independent curator, and Jungmin Cho, founder of Seoul art space White Noise. As part of Untitled Art’s aim to better represent the breadth of the contemporary art market, the fair invited a more diverse array of galleries from Asia, Eastern Europe, North Africa, the Middle East, and Asia Pacific. Several galleries focused on exploring individual artists’ struggles with identity or assembled diverse rosters that reflect a broad geographic and cultural scope.

“I’ve most enjoyed witnessing how galleries have really leaned into this year’s curatorial theme, ‘East Meets West,’ intending to extend the geographical reach of the fair beyond traditional, Western understandings of contemporary art,” said Clara Andrade, the fair’s executive director. “These galleries are bringing more experiential and conceptual approaches, further broadening what this edition has to offer.”

Untitled Art’s commitment to curator-driven presentation is clear across the board, but is particularly prominent in its special projects section of installations. Notable works, scattered across the three aisles, include Judy Pfaff’s El Patio (1988)—a massive colorful artwork affixed to the East wall near the VIP lounge—and Brooklyn gallery Transmitter’s “contain and mend” exhibition, a group show of textile work from artists from Asia and of the Asian diaspora.

Meanwhile, the fair’s Nest sector continues with its aim of breaking down the financial barriers to art fair participation by offering subsidized booths. This forward-thinking initiative has drawn in fresh faces like Hong Kong’s Mou Projects, Los Angeles’s Rajiv Menon Contemporary, and New York’s Latitude Gallery, all making their fair debuts.

Untitled Art is also poised for major change in 2025. Last month, the fair announced its expansion to Houston, scheduled for September 19th through 21st. The new fair—described as a “boutique invitational fair”—hopes to engage the local art community and Texas’s rapidly growing collector base.

“Our role during Miami Art Week is to continue creating a space that is open, inclusive, and accessible while pushing boundaries and presenting cutting-edge ideas and work—which the market is positively responding to,” said Andrade. “It signals the hunger for this type of offer within today’s art fair landscape, which we are excited to bring to Houston when we launch there in September next year. We are concluding 2024 on a positive high, with confidence in the market and so much to look forward to in 2025.”

Here, we present the 10 best booths from Untitled Art, Miami Beach 2024.

Superposition

Booth C7

With works by Alex Anderson

Making its Miami debut, nomadic gallery Superposition was turning heads among the VIP crowd on Tuesday. Placed near the front entrance, its booth features a striking red floor and a backdrop of blue sky wallpaper with a rainbow slicing through. Inside, the gallery presents a solo show of shiny, intricate ceramic works (many of which are made with porcelain) by Los Angeles–based artist Alex Anderson. Three works, including the glowing greenish sculpture of a gnarled cat, Energy Cat (2024), are perched on mirrored pedestals that reflect the booth’s wallpaper and the sunny interior of the fair.

A highlight of the presentation is Daisy Chain (2024), a ceramic wall sculpture of a heart made of contorted blue daisies sprinkled with gold flakes. Many of Anderson’s works are inspired by symbols that are often tied to either his Japanese American or African American heritage—linking the presentation to the fair’s theme of “East meets West.” “How do we have all these symbols that mean the same thing? People always use them as [a] division, but it’s something that brings us together,” Superposition founder Storm Ascher told Artsy. The works are priced between $7,500 and $14,000.

For Ascher, the gallery’s nomadic nature brings greater intentionality to its fair presentations: “We think of these as exhibitions, not just selling at a commercial fair,” she said. “We wanted to make an immersive experience and have people walking through, so we were specific about the flooring, the wallpaper, and the pedestals to have this reflective energy that keeps you up in the air.”

Pi Artworks

Booth B14

With works by Jyll Bradley

British artist Jyll Bradley offers two distinct approaches to self-portraiture in her solo presentation from the London and Istanbul gallery Pi Artworks. The booth features sculptures made from fluorescent live-edge plexiglass and large-scale, never-before-seen photographs. These photographs are from Bradley’s “queer minimalism” works from the 1980s. One standout is Self Portrait (1987), a striking 5-by-5.5-foot black-and-white photograph of the artist’s bare back.

Adjacent to the photograph stands a red and neon green plexiglass sculpture inscribed with the poetic phrase “The marrow in her spine is a thin thread of light,” a direct reference to the neighboring work. “She sees it as an extended self-portraiture,” noted the gallery’s founder Jade Yesim Turanli of the work.

Bradley, present at the booth, elaborated on the cohesive vision of the presentation, noting that the photographs and the sculptures match her physical height. “They’re very much expressions of self and autobiography,” she said. “We wanted to make a statement about who I am rather than just bringing a whole load of stuff to sell. I’m a very conceptual, installation-based artist, so it made sense to create an installation rather than a traditional display.”

With that point in mind, Turanli mentioned to Artsy that the booth had received notable attention from two institutions during the fair’s opening hours. The sculptures are priced at $20,000 each, while the larger photographs are $25,000 apiece. Smaller editions of Bradley’s works are also available, starting at $900.

WHATIFTHEWORLD

Booth B5

With works by Nabeeha Mohamed

Cape Town gallery WHATIFTHEWORLD’s solo presentation of South African artist Nabeeha Mohamed offers a quiet, intimate reprieve from the bold, flashy colors that dominate the fair’s concourses. In a series of paintings, Mohamed depicts scenes of cluttered dinner tables, half-full wine glasses, and wilting flowers, evoking a reflection on fleeting moments of connection. Her paintings also demand to be seen up close to fully appreciate their layered, impastoed technique, which creates stunning three-dimensional textures.

Overwhelmed by the onslaught of global crises witnessed mainly through her phone, Mohamed turns towards moments of connection and joy as a source of inspiration in her work, explained gallery director Kimberley Cunningham.

“She was having these moments of beautiful communion with family and friends and just being able to be herself authentically, speak about difficult things, and find these moments of joy,” she said. “Within the pain and the hurt and the fear, there were all these moments of beauty and joy and humanity, and so she ended up creating a whole body of work that was about these moments of coming together, breaking bread, and finding a moment of hope within that.”

Mohamed’s standout diptych Divine Offering (2024) depicts an abandoned dinner table where asparagus, fish, flower petals, and lemon emerge from the canvas: A meticulous layering of oil paint creates a tactile, almost sculptural effect. The works range in price from around $8,000 to $20,000.

ARDEN + WHITE GALLERY

Booth A75

With works by Luke Diiorio, Gwen Hardie, Marisa Purcell, and Lane Walkup

Connecticut-based ARDEN + WHITE GALLERY takes full advantage of the sunlight streaming through Untitled’s translucent ceiling to elevate its presentation. Showcasing three minimalist artists, the booth focuses on abstract works that play with light and shadow.

Luke Diiorio’s Concord Waters III (2024) anchors the display with stacked crescent-like forms rendered in a subtle white-gray gradient on raw linen, highlighting the delicate interplay of form and texture. Nearby, Marissa Purcell’s works on Italian linen feature diluted acrylics layered into veils of paint, creating ethereal compositions where shapes seem to hover within the canvas. Also among the booth’s standouts are two of Gwen Hardie’s triptych oil paintings, which offer a warm, luminous color study that creates an ethereal interplay of shadow and light.

Adding a whimsical touch, two metal sculptures by Lane Walkup round out the booth. One piece situated on the back wall, Fortunate (2024), features a steel cage containing three rolls of fortune tickets. Visitors are encouraged to take a ticket as a keepsake and reminder of positive fortune. Prices for works at the booth range from $2,400 to $28,000 each.

Library Street Collective

Booth C13

With works by Akea Brionne, Christy Matson, Gary Tyler, and Tyrrell Winston

Detroit gallery Library Street Collective presents a booth centered on textile-based practices from four artists working with various techniques. “We wanted to highlight artists with textile-focused practices because, in general, textile-based work is experiencing a resurgence right now,” said Leah Ruth, director of operations at the gallery.

The booth features works by American artist Akea Brionne and Los Angeles–based artist Christy Matson, who both use the jacquard weaving technique, stretching weaving onto a bar much like traditional canvases. Together, the works create a counterpoint in the presentation: Matson’s abstract, muted landscapes, such as Fireworks (2024), starkly contrast with Brionne’s vibrant, rhinestone-bedazzled figurative work, like Time Traveler (2024).

Gary Tyler’s works, meanwhile, are made with traditional quilting with appliqué, a collage-like process of layering cut-out shapes to create painterly compositions. The artist’s story adds another layer of significance—wrongfully convicted at age 16, he spent four decades incarcerated, where he began quilting. His works, like Trinidad (2024), depict individuals he met in prison. Elsewhere are works by Tyrrell Winston, who repurposes discarded objects, such as basketball nets in Rags are Riches (2024).

It was clear that the works on view were picking up considerable interest during the opening hours of the fair. By midday during the VIP preview, the gallery had already sold half of its booth, with works priced between $18,000 and $30,000.

Jane Lombard Gallery

Booth B26

With works by Bradley Wood and Ulla-Stina Wikander

New York’s Jane Lombard Gallery brings together two artists in its booth who draw inspiration from the past—particularly drawing attention to the consumerism of a bygone era. Most prominently, Swedish artist Ulla-Stina Wikander’s 12 sculptural objects—cowboy boots, a toaster, and binoculars, to name a few—are presented on a pedestal in the booth’s center. After sourcing the objects from vintage stores, Wikander covers them in intricate needlepoint embroidery. For instance, Blue Kettle (2020) features an electric kettle wrapped in needlepoint of two women looking out onto a seascape.

“Her work recasts and renews domestic items, elevating them while touching on themes of women’s work and traditional craftsmanship,” said sales associate Ariel De Sal. By the end of VIP day, Jane Lombard Gallery sold out of the sculptures, with “combined sales” in the range of $25,000 to $30,000.

Meanwhile, a series of brightly colored paintings from New York–based artist Bradley Wood detail the opulent interiors of houses reminiscent of Great Gatsby–esque estates. These paintings are priced between $6,000 and $15,000 each. Together, the two artists create a dialogue about nostalgia, domesticity, and luxury.

The fair was already proving to be busy for the gallery during VIP day, explained director Lisa Carlson. “There was a buzz early in the week about a slower market, so we approached the fair prepared for any outcome,” she said. “However, we’ve been thrilled to see new collectors actively engaging with younger artists and making decisive purchases right on the spot. Even more exciting, we’ve transacted with both emerging collectors and seasoned collections tied to public museums, reflecting not only a strong week in Miami but hopefully a brighter landscape for 2025.”

SGR Galería

Booth A52

With works by Javier Morales Casas, Maria Isabel Rueda, Tahuanty Jacanamijoy, Mangle, and Nicolás Bonilla

There are plenty of reasons why SGR Galería’s booth might catch the attention of passersby, but the main one is likely to be a floating wooden sculpture by the artist duo Mangle. Part of the duo’s “ABSENCE” series, the work resemble fabric suspended mid-air, created through a meticulous process of bending laminated wood in vacuum-sealed bags, then clamping and drying it to retain its fluid, fabric-like shape, complete with natural wrinkles that form unpredictably. These works are priced between $6,000 and $7,500.

Adding to the Bogota and Miami gallery’s presentation are ceramic works by Colombian artist Nicolás Bonilla, whose wall-mounted pieces appear as fictional rocks. These “man-made stones” are crafted using natural materials and ancient firing techniques. “He’s always exploring limits between science and fiction, creating these fictional rocks that are made up of the same components as real rocks,” said Steven Guberek, the gallery’s director.

On the right wall, Indigenous artist Tahuanty Jacanamijoy’s frenetic depictions of a tiger-like creature are also unmissable. The creature, seen in works like THAT NIGHT, I LEARNT (2024), is inspired by the artist’s experience with Ayahuasca—an ancestral medicine with hallucinogenic qualities—where his grandfather gifted him a tiger child, according to Guberek. The larger paintings are priced at $8,200. The presentation is rounded out by works from two other Colombian artists: Javier Morales Casas and María Isabel Rueda.

BHAK

Booth A70

With works by Bo Kim

For its Untitled Art debut, 31-year-old South Korean gallery BHAK is showcasing its youngest artist, 30-year-old Bo Kim. Led by Bryan Bhak, who took over from his father five years ago, the gallery is hoping to bridge the gap between South Korea and the United States.

“We wanted to highlight Bo Kim’s talent and felt Untitled Miami was the perfect match, especially with this year’s curatorial theme, ‘East Meets West,’” said Bhak. “She embodies that concept, having studied in the U.S. while living and working in Korea.”

The solo booth features Kim’s textured abstract paintings, created using traditional Korean hanji paper made from mulberry tree bark. Layers of acrylic-painted hanji are applied over the canvas, often before being ornamented by sand and Conté. At the heart of the presentation is the triptych From a pair, September 1993 (2024), an evocative, blurry greenscape surrounded by two towering trees on the exterior panels. “This piece is specifically from her thinking of her parents,” said Bhak, noting that the tree coverage represents parental guidance. The triptych is priced at $25,000, while other works in the booth range from $3,000 to $15,000.

Secci

Booth B19

With works by Chico da Silva, Alfredo Pirri, Alin Bozbiciu, Chris Soal, Daria Dmytrenko, Didier William, Etsu Egami, Giuseppe Stampone, Jeremy Lawson, Joshua Hagler, Kevin Francis Gray, Levi van Veluw, Lotte Wieringa, Michael Staniak, and Sebastiano Sofi

As part of its group presentation, Milan gallery Secci carves out a standout solo section for Dutch ceramist Levi van Veluw. The section presents five ceramic works made from polymer clay mixed with blue pigments, meticulously hand-shaped before each firing. A highlight is Conversion (2024), a large circular sculpture decorated with small ceramic balls and niches. His labor-intensive works, which range from $24,000 to $50,000, are all marked by the artist’s touch, often still featuring his fingerprints.

“His works investigate the role that means the balance between chaos and order, so there’s a lot of attention in the pursuit of control that we have in our life,” said the gallery’s sales associate Fransesca Bellavia. “As you can see, there is a lot of effort in every one of his works, and it takes four months to do everything.”

Beyond Vavilov’s solo display, the booth features works by a wide array of artists who have worked with the gallery. Most notably, Ukrainian painter Daria Dmytrenko’s Melancholy Valley (2024) is an otherworldly figurative painting of an anthropomorphic creature in a surreal landscape, priced at $18,500. Also on view were two marble sculptures by Kevin Francis Gray and a work by Chico da Silva, whose works feature in the gallery’s current show. Prices for the rest of the booth range from $20,000 to $40,000.

kó

Booth B18

Works by Bunmi Agusto, Tofo Bardi, Ngozi-Omeje Ezema, Modupeola Fadugba, and Yadichinma Ukoha-Kalu

Each of the five Nigerian artists in Lagos gallery kó’s booth commands attention with experimental approaches to process. At its core is Ngozi-Omeje Ezema’s Ngi ji Ji, Jide Nma (2024), a terracotta installation composed of hundreds of small fragments suspended with fishing wire. Inspired by an ancestral Igbo metaphor, the piece reflects on communal sharing, with the circular form representing wholeness and the intersecting lines symbolizing the divvying up of a whole among the community.