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<\/p>\nInstallation view of Untitled Art, Miami Beach, 2025. Courtesy of World Red Eye.<\/p>\n
Under a blazing winter sun on Miami Beach, visitors filed into the white tent of Untitled Art<\/a> for the fair\u2019s VIP day on Tuesday, December 2nd. Launched in 2012, Untitled Art is now a key plank in Miami Art Week<\/a>\u2019s packed slate of openings and events. This year\u2019s fair features 160 galleries from 29 countries, a small contraction from the 176<\/a> exhibitors in 2024. <\/p>\n A strong group of more than 25 newcomers breathed new life throughout the fair. Many debutants can be found in its curated Nest sector\u2014led by Jonny Tanna, founder of London tastemaker Harlesden High Street\u2014which brings together 36 emerging galleries such as Cierra Britton Gallery<\/a> and Sorondo<\/a>. In previous years, the galleries belonging to the section have been placed throughout the tent; however, this year, they are grouped in an open-format section. \u201cBy championing emerging talent and supporting both new and established galleries, we aim to strengthen our community and also show the possibilities of what an art fair can achieve,\u201d said the fair\u2019s director, Clara Andrade Pereira. <\/p>\n Attention this year centered on single or minimally curated presentations. The new Artist Spotlight sector, dedicated entirely to solo booths, further sharpened that focus and encouraged deeper engagement with individual artist practices. Indeed, concentrated booths were commonplace across the fair as many galleries opted to foreground just one or two artists over sprawling group displays.<\/p>\n Here, we present the 10 best booths from Untitled Art, Miami Beach 2025.<\/p>\n With works by \u00c9lise Peroi, Rosalind Tallmadge, Yulia Iosilzon, and Rachel Mica WeissBooth A51 Installation view of Carvalho\u2019s booth at Untitled Art, Miami Beach, 2025. Photo by Mikhail Mishin. Courtesy of Carvalho.<\/p>\n Positioned at the heart of the fair, New York\u2013based gallery CARVALHO<\/a>\u2019s booth<\/a> benefits from the abundant natural light filtering through the tent, highlighting the wide range of media represented by its four featured artists. <\/p>\n French artist \u00c9lise Peroi<\/a>\u2014featured in The Artsy Vanguard 2026<\/a>\u2014presents Songes II<\/a> (2022), one of the artist\u2019s deconstructed tapestries, where narrow strips of silk cut from her own paintings are woven onto wooden armatures. Meanwhile, on the back wall of the booth, Yulia Iosilzon<\/a>\u2019s painting Being Present With Ironic Approach<\/a> (2025) depicts a mythical scene in which rotund and colorful forms are layered in the artist\u2019s whimsical palette. These are accompanied by New York\u2013based artist Rosalind Tallmadge<\/a>\u2019s mirrored mica wall works, where shattered, silvery paintings emerge as energetic \u201canti-images,\u201d as the artist told<\/a> Artsy last year. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n \u201cThe atmosphere that the tent casts allows the meticulous practices of these artists to come into their complex being\u2014the works breathe and sing here,\u201d the gallery\u2019s founder, Jennifer Carvalho, told Artsy. The price range for works in the booth is $10,000 to $60,000.<\/p>\n With works by Lorena TorresBooth B30 Lorena Torres, installation view in SGR Galer\u00eda\u2019s booth at Untitled Art, Miami Beach, 2025. Courtesy of SGR Galer\u00eda.<\/p>\n Colombian artist Lorena Torres<\/a> channels the ache of a recent romantic loss in her solo booth<\/a> with SGR Galer\u00eda<\/a>. Spread onto the floor is FAREWELL LIGHT, MAY HEAVEN KEEP YOU (2025), an oil painting depicting a figure lying amid a bed of flowers. The work is covered with ceramic objects, including a bird skull and bananas, each of which represents aspects of her relationship. <\/p>\n Torres\u2019s figurative paintings, placed above a bed of houseplants, are set in the rural Colombian Caribbean. These works convey a sense of melancholy, evident in THE SPELL<\/a> (2025), where a man places his head on a woman\u2019s lap as she cuts his hair. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n According to SGR Galer\u00eda founder Steven Guberek, this body of work circles around \u201closing love and reconnecting with herself.\u201d The works in the booth range in price from $5,500 to $16,000.<\/p>\n With works by Johanna Bath and Dimitris TampakisBooth N7 Installation view of Enari Gallery\u2019s booth at Untitled Art, Miami Beach, 2025. Photo by Silvia Ros. Courtesy of Enari Gallery.<\/p>\n Three hanging sculptures line the front of Amsterdam-based Enari Gallery<\/a>\u2019s booth<\/a>. Part of Dimitris Tampakis<\/a>\u2019s \u201cCharmides\u201d series, the two aluminum dagger-like casts represent figures that chime upon impact, embodying what gallery founder Christina Voulgari describes as \u201cphilosophical tension and ritualized intellectual conflict.\u201d <\/p>\n 4<\/p>\n View Slideshow<\/p>\n The sculptures foreground a series of zinc-based etchings of hands also on view. These include Presumption of Innocence<\/a> (2025), which depicts hands emerging from the shadows. The gallery pairs Tampakis\u2019s work with a series of intimate portraits by Johanna Bath<\/a>. In gesture<\/a> (2025), for instance, a hand caresses a cheek in a soft photorealistic style, representative of the artist\u2019s meditative composition and muted palette. Taken together, these works examine how the body becomes a vessel for both conflict and care, holding tension just beneath their surfaces. The works in the booth range in price from $3,600 to $12,800.<\/p>\n With works by John RivasBooth A30 John Rivas, installation view in Superposition\u2019s booth at Untitled Art, Miami Beach, 2025. Courtesy of Superposition.<\/p>\n John Rivas<\/a> and his family were forced to flee El Salvador more than two decades ago due to gang violence. Now, after visiting his home country for the first time since then, he presents a new body of work at Superposition<\/a>\u2019s booth<\/a> that reflects on his enduring connection to his homeland and family. The booth\u2019s wallpaper, a sunset horizon, reproduces the first painting Rivas created on his return from El Salvador. <\/p>\n Hung against this sentimental backdrop is a collection of multimedia portraits that channel the enduring love Rivas holds for his heritage. In Mi Favorito Lugar<\/a> (2025)\u2014embellished with patches, clay, a wooden cross, crayons, and more\u2014Rivas honors his grandmother\u2019s house, a site central to his memory and identity. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n The artist has also expanded his practice to include wooden sculptures that depict faces and figures carved from Salvadorian wood he transported back to the U.S. One of these, titled Mi Primer Chela<\/a> (2025), depicts the artist\u2019s father drinking beer. \u201cWith my art, I shine a light to be an example who they champion not just for the family\u2019s legacy, but for my people, ancestors, and those who come after me,\u201d Rivas told Artsy. Works in the booth range in price from $3,000 to $25,000.<\/p>\n With works by Mychaelyn MichalecBooth C41 Mychaelyn Michalec, installation view in K Contemporary\u2019s booth at Untitled Art, Miami Beach, 2025. Photo by Mikhail Mishin. Courtesy of K Contemporary.<\/p>\n Denver gallery K Contemporary<\/a> is presenting<\/a> a selection of Ohio-based artist Mychaelyn Michalec<\/a>\u2019s hand-tufted wool tapestries. Most of the works portray women and birds in intertwined or distressed forms, addressing the \u201cconcept of hysteria,\u201d as the artist told Artsy. <\/p>\n Michalec emphasized that hysteria\u2014referring to an unmanageable emotional state once associated mainly with women\u2014remained a medical diagnosis until 1980. This work critiques that history as evidence of a government systematically suppressing women\u2019s voices and lived realities. Don\u2019t let a bird\u2019s feathers fool you<\/a> (2025), for instance, depicts a wide-eyed woman whose appendages are transforming into goose heads. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n Gallery founder Doug Kacena noted that this conflation underscores how women are often associated with bird imagery in language\u2014called \u201cchicks,\u201d or kept in a \u201cgilded cage.\u201d The works in the booth are priced from $5,000 to $25,000.<\/p>\n With works by Raina LeeBooth A72 Raina Lee, installation view in LaiSun Keane\u2019s booth at Untitled Art, Miami Beach, 2025. Courtesy of LaiSun Keane.<\/p>\n Taiwanese American artist Raina Lee<\/a>\u2019s palm-sized stoneware wall works draw from her everyday life, featuring subjects that range from koi fish to a still life from Casa Vicens in Barcelona. <\/p>\n Boston gallery LaiSun Keane<\/a> is presenting<\/a> a selection of 43 of these postcard-sized works. After working as a journalist, the artist channels her documentarian perspective into these scenes, drawing on her personal life and travels. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n Many of these works also feature artworks as their subject matter. For instance, Calder Mercury Foundation<\/a> (2025) depicts a famous work by Alexander Calder<\/a> located in Spain, and Mujer at Fundaci\u00f3 Joan Mir\u00f3<\/a> (2025) was inspired by her visit to Joan Mir\u00f3<\/a>\u2019s foundation in Barcelona. By the middle of the fair\u2019s VIP day, the gallery had already sold half of the presentation, with pieces ranging in price from $1,800 to $4,000.<\/p>\n With works by Maysey CraddockBooth B78 Maysey Craddock, installation view in Sears-Peyton Gallery\u2019s booth at Untitled Art, Miami Beach, 2025. Photo by Silvia Ros. Courtesy of Sears-Peyton Gallery.<\/p>\n Inspired by the wildlife around Memphis and New Orleans, Maysey Craddock<\/a>\u2019s haunting gouache paintings capture the ephemerality of those untamed landscapes. New York\u2019s Sears-Peyton Gallery<\/a> presents<\/a> 11 of these paintings at its booth. <\/p>\n Craddock paints her organic forms on grocery-store paper bags, stitching them together into patchwork canvases. Evoking the elegance of Japanese woodcuts, the works are meticulously layered in gouache, lending a delicate luminosity to the humble surface. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n Each painting imbues trees with a personal emotional resonance, drawn from the artist\u2019s own archive of place and memory. In Every Waiting Heart<\/a> (2025), for instance, a tree leans into a marsh-like landscape, draped in Spanish moss against a sunlit horizon. <\/p>\n \u201cThis whole legacy of production and the recycled materials [the paintings are] made from\u2014maybe not always\u2014it\u2019s that repurposing and kind of returning [the bags] to the trees,\u201d she said in an interview with the gallery. Prices for these works range from $6,000 to $32,000.<\/p>\n With works by C.Lucy R. Whitehead, Lorena Lohr, and Georgina OdellBooth A8 Installation of Soho Revue\u2019s booth at Untitled Art, Miami Beach, 2025. Courtesy of Soho Revue.<\/p>\n Georgina Odell<\/a>\u2019s hanging steel mobile All These Dreams<\/a> (2025) anchors London tastemaker Soho Revue<\/a>\u2019s booth<\/a>. This work, priced at $4,800, creates steel renditions of origami paper fortune tellers, hanging them in a style reminiscent of Alexander Calder\u2019s steel mobiles. This work taps into a collective childhood nostalgia, where those folded games once hinted at futures. This work contrasts with C. Lucy R. Whitehead<\/a>\u2019s oil paintings, featuring fleshy, contorted forms performing in front of a curtain, as in the disquieting Honey I\u2019m Home<\/a> (2025). These works range from $2,700 to $14,000. The third artist, Lorena Lohr<\/a>, portrays nude women in richly detailed landscapes both mythical and tangible. These works are priced around $4,500. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n \u201cBringing together these three artists, we found their practices rooted in play, childhood nostalgia, and all building to the sensation of hazy memory, just out of reach\u2014desert pastel landscapes in Lohr\u2019s, sharp playground games in Odell\u2019s, and nebulous forms in Whitehead\u2019s,\u201d said the gallery\u2019s founder, India Rose James.<\/p>\n With works by Billy Childish, Laura Footes, Vanessa Raw, and Lola Stong-BrettBooth A3 Installation view of Carl Freedman Gallery\u2019s booth at Untitled Art, Miami Beach, 2025. Courtesy of World Red Eye.<\/p>\n Positioned near the entrance of the Untitled tent, Kent, U.K.\u2013based Carl Freedman Gallery<\/a> showcases five visceral, defiantly \u201cugly\u201d ceramics<\/a> by British sculptor Lindsey Mendick<\/a>. Each work\u2014priced at $23,000\u2014is encrusted with symbols of vice and luck: alcohol shooters, lemons, slot machine numbers. Mendick\u2019s sculptures revel in the unruly beauty of excess. <\/p>\n 4<\/p>\n View Slideshow<\/p>\n They\u2019re grouped with frenetic abstract paintings by Lola Stong-Brett<\/a>, including At Night I Sit and Beg for You<\/a> (2025) on the back wall, where wild gestural marks churn across the canvas. Nearby, more intimate figurative works introduce a different tension: Laura Footes<\/a>\u2019s Anxious Bathers<\/a> (2025), showing a mass of scarlet bodies, and Vanessa Raw<\/a>\u2019s Step Into the Magic We Know<\/a> (2025), depicting two nude women kissing in a forest. It\u2019s a booth<\/a> that meets visitors head-on with bold images that are impossible to ignore.<\/p>\n With work by Laura Berger, Aaron Glasson, and Matt PhillipsBooth A33 Installation view of Louis Buhl & Co.\u2019s booth at Untitled Art, Miami Beach, 2025. Photo by Mikhail Mishin. Courtesy of the artist and Louis Buhl & Co.<\/p>\n Detroit\u2019s Louis Buhl & Co<\/a>. presents<\/a> three artists new to its program, with themes around the natural world prevalent in their works. <\/p>\n Laura Berger<\/a>\u2019s compositions feature stylized figures in pared-back, dreamlike environments. Berger initially approached paintings as a form of therapy, using portraiture as a way to consider interpersonal connection and self-reflection in nature. Soft Wash <\/a>(2025), for instance, depicts six nude figures bathing in the waterfall, rendered with muted colors that lend a tranquil emotion.<\/p>\n 4<\/p>\n View Slideshow<\/p>\n Meanwhile, Aaron Glasson<\/a> incorporates handmade pigments from natural materials such as rust and charcoal, extending his interest in ecology and the relationship between humans and the environments they inhabit. Works like the crimson-toned Dawn at Chapultepec Lake<\/a> (2025) recast a landscape through precise shapes and calibrated color relationships. Lastly, Matt Phillips<\/a> constructs geometric abstractions from repeated shapes and layered, hand-mixed color, drawing on strategies such as quilting. These paintings are often inspired by organic forms, including Blue Flowers <\/a>(2025), featuring petaled oscillations of blue and red.<\/p>\n Together, these works demonstrate distinct formal approaches\u2014figuration, material experimentation, and geometry\u2014yet share an attentiveness to how the natural world is perceived and felt.<\/p>\n Correction: A previous version of this article omitted Rachel Mica Weiss from the list of artists included in Carvalho\u2019s booth and incorrectly identified the number of artists featured in that booth. The number is four, not three.<\/p>\n","protected":false},"excerpt":{"rendered":"Art Market Installation view of Untitled Art, Miami Beach, 2025. Courtesy of World Red Eye. 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