Untitled Art, Miami Art Week, 2025
This year, I once again returned to Miami and had the privilege of attending what stands out as one of Untitled Art Fair’s most decisive and most confident editions to date. With a noticeably elevated curatorial standard and a greater sense of cohesion across the fair, the 2025 edition struck a compelling balance between discovery and depth, reinforcing Untitled’s reputation as one of Miami Art Week’s most rewarding destinations. From rigorously curated solo presentations to thoughtfully assembled group booths, the fair offered a nuanced snapshot of where contemporary art is heading, both aesthetically and conceptually.
What emerged most clearly was a renewed emphasis on materiality, storytelling, and cultural specificity, alongside a growing presence of galleries championing underrepresented voices and cross-disciplinary practices. Below, Martyn White USA presents a curated selection of standout galleries, artists, and key trends discovered at this year’s fair; highlights that captured the energy of Miami’s contemporary art scene and underscored why Untitled continues to lead the conversation beyond the commercial spectacle.
Galería CURRO
Among the standout presentations at this year’s Untitled Art Fair, Galería CURRO distinguished itself with a booth that felt both rigorously curated and quietly confident. Based in Mexico City, the gallery is known for championing contemporary artists whose practices sit at the intersection of sculpture, photography, and conceptual experimentation; an approach that translated powerfully within the fair’s oceanfront setting.
CURRO’s presentation unfolded as a carefully considered dialogue between form and image, pairing sculptural works with photographic and mixed-media pieces that explored materiality, perception, and process. The booth resisted visual excess, instead allowing each work space to breathe; a curatorial restraint that heightened the impact of the artists on view. Textural surfaces, subtle color palettes, and a sensitivity to scale created a cohesive visual language that invited close inspection rather than spectacle.
What made Galería CURRO’s stand particularly compelling was its ability to balance intellectual rigor with aesthetic clarity. The works spoke to broader conversations around contemporary Latin American art, while remaining accessible and visually arresting, a quality that resonated strongly with Untitled’s emphasis on discovery and thoughtful presentation. In a fair defined by strong curatorial voices, CURRO’s blend of sculptural, photographic, and interdisciplinary practices emerged as one of the most memorable encounters of this year’s edition.
SECCI Gallery
SECCI Gallery delivered one of the most visually distinctive and immersive presentations at this year’s Fair, standing out for its exceptional curation and confident use of texture, material, and color. Based in Milan, the gallery is known for its refined, cross-disciplinary approach to contemporary art, and its Miami presentation felt both intellectually considered and emotionally resonant.
Mosaic works created by artist Omar Mismar, formed a compelling focal point of the booth, introducing a tactile richness that immediately set SECCI apart from its surroundings. Layered surfaces, fragmented compositions, and a strong sense of craftsmanship created a rhythm across the space, encouraging viewers to slow down and engage with the works at close range. This emphasis on materiality was amplified by the gallery’s thoughtful decision to introduce colored walls, a bold yet harmonious choice that enhanced the artworks rather than competing with them.
What made SECCI Gallery’s stand particularly memorable was its sense of cohesion. Every element, from the artworks themselves to the architectural framing of the booth, felt intentional and unified. The result was a presentation that felt less like a temporary fair stand and more like a carefully staged exhibition, underscoring SECCI’s ability to create environments that elevate contemporary art beyond the purely visual and into the experiential.
Carl Freedman Gallery
While I rarely repeat gallery selections from previous editions, Carl Freedman Gallery once again proved impossible to overlook. Based in Margate, UK, the gallery has built a formidable reputation for its exceptional artist curation, and its presentation at this year’s Untitled Art Fair reaffirmed why it continues to command international attention.
What distinguishes Carl Freedman Gallery is the lasting impact of the artists it represents. Time and again, these voices reappear in museum exhibitions, biennials, and major cultural events across the globe, a testament to the intellectual and artistic strength of their practices. The works presented in Miami carried a palpable confidence, pieces that challenged perception, questioned cultural narratives, and pushed boundaries without ever feeling contrived.
There is a rigor to Carl Freedman Gallery’s program that transcends trends. Whether through conceptual frameworks, material experimentation, or provocative subject matter, the artists on view demonstrated a depth that rewards sustained engagement. Featuring the gallery again felt less like repetition and more like acknowledgment; a recognition of a program that continues to shape contemporary discourse and remains consistently ahead of the curve.
K Contemporary, Artist Spotlight: Mychaelyn Michalec
K Contemporary showcased the work of Mychaelyn Michalec in a booth that was both visually arresting and conceptually fearless. The works immediately commanded attention through their bold, unconventional presence; fiber-based compositions that challenge expectations of material, subject matter, and scale.
Michalec’s practice centers on hand- and machine-tufted rug techniques, a medium historically rooted in domestic craft and often dismissed as decorative or feminine. By reclaiming and subverting these processes, the artist confronts themes frequently considered taboo across cultures, including gender, labor, feminism, sexuality, aging, and desire. Using her own body as both reference and provocation, Michalec exposes unapologetic truths about the female form and emotional life, rejecting sanitized or idealized narratives in favor of raw authenticity.
The presentation subtly but powerfully challenged society’s persistent anxieties surrounding women’s emotional states, anatomy, and outward appearance. Through textured, free-form wall hangings that oscillate between exaggeration and resistance, Michalec dismantled enduring tropes of hysteria and female behavior, reframing them as sources of intellect, resilience, and internal beauty. The works celebrated complexity, both the glory and the torment of contemporary womanhood, with a confidence that felt urgent and necessary.
Invited by Untitled Art to participate in its debut sector dedicated to single-artist presentations, K Contemporary’s inclusion in the fair’s inaugural “Artist Spotlight” category underscored the strength and relevance of Michalec’s practice. It was a standout moment within the fair, and a clear indication of Untitled’s evolving commitment to focused, artist-led narratives.
Anna Erickson Presents
Anna Erickson Presents, based in Nashville, delivered a quietly magnetic solo presentation of Sofía Muljat’s work, one that drew viewers in through its extraordinary richness of color and surface. From across the aisle, the works were impossible to ignore; up close, they proved even more absorbing, repeatedly stopping passersby in their tracks.
Muljat’s paintings unfold through layered compositions and luminous palettes that reward sustained looking. The intensity of the colors, paired with a tactile sense of depth, created a visual language that felt both expansive and intimate. Each work seemed to hover between abstraction and suggestion, allowing emotion and atmosphere to take precedence over fixed interpretation, a quality that resonated strongly within the fair’s bustling environment.
What made this presentation particularly successful was its restraint. By focusing on a single artist, Anna Erickson Presents allowed Muljat’s work to breathe, creating a cohesive and immersive experience that stood out amid the visual noise of Miami Art Week. The result was a booth that felt less like a fleeting fair encounter and more like a moment of pause; a testament to the power of color, materiality, and considered curation when given space to unfold.
Wishbone Gallery, Artist Spotlight: Florencia Rothschild
Wishbone Gallery, based in Montreal, presented an elegant, thoughtfully curated artist spotlight featuring the work of Florencia Rothschild, defined by its sophisticated use of materials and a fluid dialogue between form and surface. What immediately stood out was the way Rothschild’s practice translated seamlessly from sculptural ceramic vessels to more canvas-like, mosaic-inspired works, blurring the boundaries between object, image, and architecture.
Material sits at the heart of Rothschild’s practice, with ceramics approached not merely as a medium, but as a sensorial, intellectual, and symbolic language. Fragmented and contorted forms evolve into new, imagined bodies, challenging fixed notions of individuality and favoring a more collective, fluid understanding of identity. Architectural references subtly underpin the works, creating a tension between structure and organicity that lends the presentation both rigor and quiet poetry.
Within the context of Untitled Art Fair, Wishbone Gallery’s solo presentation felt measured and confident, offering a moment of calm contemplation amid the energy of Miami Art Week. The booth invited sustained engagement, rewarding viewers with works that felt at once embodied and ethereal; a compelling exploration of how material can hold memory, meaning, and human presence.
PIERMARQ*
PIERMARQ* delivered an energetic and visually rich presentation at this year’s fair, showcasing works by Ben Crase, Max Daniels, and Andrew Salgado in a booth that pulsed with color, movement, and painterly confidence. United by a shared interest in pushing the boundaries of figurative and abstract painting, the presentation explored the fertile space between reality and fantasy, where form, narrative, and imagination collide.
Among the standout works, Andrew Salgado’s paintings were particularly captivating, weaving figures into fantastical compositions alive with layered patterns and saturated hues. His canvases unfolded as densely choreographed worlds in which bodies drifted in and out of focus, suspended within dreamlike environments that felt at once exuberant and disorienting. Themes of abundance and excess played across the surface, with visual information accumulating to the point of near-overflow.
Throughout the booth, figurative shapes appeared and dissolved, creating a sense of constant motion and transformation. Motifs such as harlequin-like figures and low-hanging moons alluded to long-standing traditions of figurative painting while reimagining them through a contemporary lens. The result was a presentation that felt both referential and forward-looking: a celebration of painting’s enduring capacity to reinvent itself through color, storytelling, and expressive freedom.
The Fridge, Artist Spotlight: Joji Nakamura
The Fridge, based in New York, presented a solo presentation of Joji Nakamura that immediately stood out for its vibrant color, playful energy, and liberating forms. The booth felt both joyful and contemplative, a space where abstract expression meets subtle figuration, inviting viewers to linger and explore the nuanced visual language of the artist.
Nakamura’s practice moves fluidly between recognizable figures and abstract shapes, creating a sense of tension and harmony across each composition. Recurring motifs and soft, cloud-like color shifts define his distinctive language, giving the works a lyrical and immersive quality. While abstract, the paintings retain hints of identifiable subjects, creating a beautiful transition between abstraction and representation that engages both the eye and imagination.
Each piece emerges instinctively from gestures Nakamura has honed over the past 15 years, following a consistent format shaped by his ongoing process. Through a daily, almost ritualistic practice, he introduces new elements while maintaining continuity across his body of work; a testament to both discipline and creative freedom. The resulting works are at once playful, thoughtful, and visually captivating, marking The Fridge’s presentation as one of the most refreshing and memorable of the fair.
Vigo Gallery
Vigo Gallery, based in London, presented a thoughtfully curated selection of works by artists including Johnny Abrahams, Henrik Godsk, and Moira Cameron, among others. Despite featuring a larger roster of artists, the booth felt balanced and intentional, never cluttered or overwhelming; a testament to the gallery’s careful consideration of space, scale, and flow.
Among the works on view, Henrik Godsk’s abstract portraits were particularly striking. Characterized by vibrant color, refined brushwork, and a fluid abstraction, his pieces drew the eye immediately, creating a visual anchor within the broader presentation. Godsk’s ability to convey presence and personality through abstracted forms underscores why his work consistently captivates viewers and stands out in any fair context.
The overall presentation at Vigo Gallery combined curatorial rigor with visual delight, allowing each artist’s voice to resonate while contributing to a cohesive narrative. The result was a booth that felt both inviting and intellectually engaging, showcasing the gallery’s capacity to present multiple perspectives without sacrificing clarity or impact.
It was a pleasure to be back in Miami for this year’s Untitled Art Fair and witness firsthand the incredible range of work on offer. The fair felt particularly fresh and vibrant, with galleries presenting new, compelling voices and revisiting established ones in ways that felt both thoughtful and unexpected; a rare achievement on the scale of Miami Art Week. From bold solo presentations to meticulously curated multi-artist booths, there was a palpable sense of discovery at every turn. This edition of Untitled stands out as one of the strongest and most inspiring yet, reaffirming why it remains a highlight of the contemporary art calendar.
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