{"id":70845,"date":"2025-12-04T10:59:33","date_gmt":"2025-12-04T10:59:33","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-fl\/70845\/"},"modified":"2025-12-04T10:59:33","modified_gmt":"2025-12-04T10:59:33","slug":"best-booths-at-untitled-art-miami-beach-2025","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-fl\/70845\/","title":{"rendered":"Best Booths at Untitled Art, Miami Beach 2025"},"content":{"rendered":"

\n\tJust as NADA Miami opened downtown Tuesday, Untitled Art opened its fair on the sands of Miami Beach. The week\u2019s two main satellite fairs both opened the day before the main gun in town, Art Basel Miami Beach, and have seemingly been duking it out<\/a> for exhibitors, with Untitled trying to lure participants to its tent with the promise of higher foot traffic for collectors unwilling to make the traffic-laden trek across the causeway.<\/p>\n

\n\tHaving been to both fairs on Tuesday, that competition seems more healthy than nasty. Untitled historically attracts some closely watched galleries but often rounds out its tent with exhibitors whose presence makes you question the selection committee\u2019s standards. Thankfully, there was less of that this year. Sure, a significant enough portion of the art in the aisles wasn\u2019t for me, but plenty of that work will find buyers.<\/p>\n

\n\tFor this edition, Untitled has rejiggered its floor plan, with some galleries in the center row taking much larger booths than usual\u2014perhaps to compensate for losing longtime exhibitors to Art Basel, which the fair touted in a pre-fair release. The fair also expanded to Houston this year, and one booth has been given over to a gaudy promotional sign for the city that would look much better left blank. The Nest section, which offers subsidized booths to emerging galleries, appears rotated roughly 45 degrees off axis from the rest of the layout. (If I had to guess, they took the \u201cNest\u201d name literally.) While painting was in heavy force at NADA, Untitled offered a strong showing of fiber-based work and sculpture.<\/p>\n

\n\tBelow, a look at the best booths at Untitled Art, Miami Beach, which runs through December 7.<\/p>\n

\tOmar Mismar at Secci<\/p>\n

\t\t\t\"Four\"Four
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tBeirut-based artist Omar Mismar has been making work about Palestine for several years, including Still My Eyes Water (2025), a hulking floral sculpture commissioned for this year\u2019s Taipei Biennial. Since appearing in the 2024 Venice Biennale, his mosaic works have also earned acclaim. On view here is one of the fair\u2019s most poignant works, a four-panel mosaic titled Ahmad with the sponge (2025). It shows different views of a floor mosaic in Gaza\u2014including one in which a man cleans it with a bucket and sponge\u2014that Mismar stumbled upon online, a recurring source in his practice. It\u2019s unclear whether the original mosaic survived, but Mismar has ensured we won\u2019t forget it. Nearby are four mosaics displayed on plinths, showing the torsos of men drawn from dating apps. Paired with Ahmad with the sponge, they take on an even more haunting resonance.<\/p>\n

\tLyndon Barrois Jr. at Alma Pearl<\/p>\n

\t\t\t\"Two\"Two
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tLondon-based gallery Alma Pearl has brought work by Pittsburgh-based artist Lyndon Barrois Jr., now a fellow at London\u2019s Royal Academy of Arts. Barrois often uses film, art history, and historical narrative as his starting points. On one wall are three paintings, each with a solid background\u2014royal blue, burgundy, and yellow\u2014featuring schematic drawings of a die and collaged details of two hands. Above each canvas is a different set of color bars used to calibrate saturation in film and photography. The hands, sourced from art-historical passages including a Vermeer painting, each perform a different kind of sleight of hand.<\/p>\n

\n\tBarrois\u2019s work addresses the histories of colonialism, and this series obliquely references the story of George Washington Williams, born free in Pennsylvania in 1849, a Civil War soldier who later became a member of Ohio\u2019s House of Representatives. In 1890, he visited the Congo Free State and was horrified by the abuses perpetuated by Belgian colonizers. His letter to King Leopold II denouncing these practices popularized the term \u201ccrimes against humanity.\u201d Barrois links this exploitation in the Congo to the sleight of hand Belgium used to first gain access to the region\u2014before establishing a brutal regime that killed millions. Today, extraction continues, as the world still seeks to mine Congo for minerals like cobalt used in lithium batteries.<\/p>\n

\tCarlos Rol\u00f3n at Hexton Gallery<\/p>\n

\t\t\t\"An\"An
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tNearly the entire central wall of Hexton Gallery\u2019s booth is covered by a white tarp painted by Chicago-based artist Carlos Rol\u00f3n with black depictions of plants found in Puerto Rico. Above it hang three works that similarly use tarps\u2014brown and blue this time\u2014onto which Rol\u00f3n has affixed familiar Puerto Rican Spanish idioms: \u201cte necesito\u201d (I need you), \u201cay bendito\u201d (oh my God), and \u201c\u00bfqu\u00e9 pasa?\u201d (what\u2019s up?). Onto these tarps he has sewn vibrant wildflowers. Rol\u00f3n sourced the tarps directly from Puerto Rico, working with a nonprofit that replaces them for residents; they have remained on roofs since Hurricanes Irma and Maria in 2017.<\/p>\n

\n\t\u201cSomething that\u2019s supposed to last six months has been there for six or seven-plus years,\u201d Rol\u00f3n told ARTnews during the VIP preview. At the back of the fair, near Untitled\u2019s Podcast Lounge, Rol\u00f3n has installed a large-scale work from this series that reads \u201cEst\u00e1 Cabr\u00f3n\u201d (That\u2019s hardcore). The degradation of the blue tarp from years of wind is visible.<\/p>\n

\tNapole\u00f3n Aguilera at Palma<\/p>\n

\t\t\t\"Several\"Several
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tAt the center of Guadalajara-based gallery Palma\u2019s booth are five works from Napole\u00f3n Aguilera\u2019s \u201cPesados\u201d series. The title literally translates to \u201cheavy,\u201d but in Spanish can also mean \u201ctough\u201d or \u201chardcore,\u201d and is often used to describe high-ranking cartel members. Drug lords have historically been stereotyped as wearing cowboy boots to signal masculinity, but many now favor designer shoes like Margiela\u2019s Tabi. Aguilera presents both styles as sculptures. The literal meaning of pesado also applies: the works, carved from obsidian and volcanic stone, weigh a great deal.<\/p>\n

\tScott Hocking at Library Street Collective<\/p>\n

\t\t\t\"An\"An
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tAnother standout special project is Scott Hocking\u2019s Water Works (2025), an installation gathering water-related objects. The Detroit-based artist recently spent time combing through a marina in Michigan, pulling out and arranging items into an organized chaos of a shelf-like structure. The work, part of Hocking\u2019s \u201cRELICS\u201d series, attempts to make sense of the layered histories of Detroit by sifting through urban detritus found in unassuming spaces like storage rooms at marinas. Here he assembles metal scraps, glass bottles, a blue-painted skull, driftwood, rope, wire fencing, and a heap of rusted bottle caps resembling barnacles.<\/p>\n

\tAlice Quaresma at Pablo\u2019s Birthday<\/p>\n

\t\t\t\"Several\"Several
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tOne wall of this booth is devoted to Alice Quaresma, who melds photography and abstract painting. Now based in London, Quaresma was born and raised in Rio de Janeiro, and her works often distill childhood memories\u2014sharp or hazy\u2014shaped by that coastal landscape. Sometimes she collages small photographs onto much larger images; elsewhere, her marks, ranging from opaque to semi-translucent, sweep across the picture plane.<\/p>\n

\tJuan Pablo Vizc\u00e1ino Cortijo at Negr\u00f3n Pizarro<\/p>\n

\t\t\t\"A\"A
\n\t\t\t\t\tImage Credit: Maximil\u00edano Dur\u00f3n\/ARTnews\t\t\t\t<\/p>\n

\n\tSan Juan\u2013based gallery Negr\u00f3n Pizarro presents four artists\u2014011668, Demetrio Kasper, Juan Pablo Vizc\u00e1ino Cortijo, and Kivan Qui\u00f1ones Beltr\u00e1n\u2014in a group presentation titled \u201cExit the Fiction of America,\u201d focusing on contemporary notions of what it means to be American.<\/p>\n

\n\tVizc\u00e1ino Cortijo\u2019s sculptures use scrap metal from barges in Lo\u00edza. Inspired by the folkloric figure el vejigante, he has, since 2020, created \u201cVejigantes\u201d masks that merge Afro\u2013Puerto Rican mask-making traditions with a futuristic bent\u2014imagining a path out of Puerto Rico\u2019s colonial past into a new future.<\/p>\n

\n\t\u201cIt is the year 2045 and I am protected by this mask that is itself a weapon. You can\u2019t contaminate me. You can\u2019t recognize me. And I can charge like an animal at any threat,\u201d Vizc\u00e1ino Cortijo once said in an artist statement about the series.<\/p>\n","protected":false},"excerpt":{"rendered":"Just as NADA Miami opened downtown Tuesday, Untitled Art opened its fair on the sands of Miami Beach.…\n","protected":false},"author":2,"featured_media":70846,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[13359,123,125,124,36469,40851],"class_list":{"0":"post-70845","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-miami","8":"tag-art-basel-miami-beach-2025","9":"tag-miami","10":"tag-miami-headlines","11":"tag-miami-news","12":"tag-untitled-art","13":"tag-untitled-art-miami-beach"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/70845","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/comments?post=70845"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/70845\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media\/70846"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media?parent=70845"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/categories?post=70845"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/tags?post=70845"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}