The 10 Best Booths at Untitled Art, Miami Beach 2025

Under a blazing winter sun on Miami Beach, visitors filed into the white tent of Untitled Art for the fair’s VIP day on Tuesday, December 2nd. Launched in 2012, Untitled Art is now a key plank in Miami Art Week’s packed slate of openings and events. This year’s fair features 160 galleries from 29 countries, a small contraction from the 176 exhibitors in 2024.

A strong group of more than 25 newcomers breathed new life throughout the fair. Many debutants can be found in its curated Nest sector—led by Jonny Tanna, founder of London tastemaker Harlesden High Street—which brings together 36 emerging galleries such as Cierra Britton Gallery and Sorondo. 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. “By 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,” said the fair’s director, Clara Andrade Pereira.

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.

Here, we present the 10 best booths from Untitled Art, Miami Beach 2025.

With works by Élise Peroi, Rosalind Tallmadge, and Yulia Iosilzon

Booth A51

Positioned at the heart of the fair, New York–based gallery CARVALHO’s booth benefits from the abundant natural light filtering through the tent, highlighting the wide range of media represented by its three featured artists.

French artist Élise Peroi—featured in The Artsy Vanguard 2026—presents Songes II(2022), one of the artist’s 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’s painting Being Present With Ironic Approach (2025) depicts a mythical scene in which rotund and colorful forms are layered in the artist’s whimsical palette. These are accompanied by New York–based artist Rosalind Tallmadge’s mirrored mica wall works, where shattered, silvery paintings emerge as energetic “anti-images,” as the artist told Artsy last year.

“The atmosphere that the tent casts allows the meticulous practices of these artists to come into their complex being—the works breathe and sing here,” the gallery’s founder, Jennifer Carvalho, told Artsy. The price range for works in the booth is $10,000 to $60,000.

With works by Lorena Torres

Booth B30

Colombian artist Lorena Torres channels the ache of a recent romantic loss in her solo booth with SGR Galería. 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.

Torres’s 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 (2025), where a man places his head on a woman’s lap as she cuts his hair.

According to SGR Galería founder Steven Guberek, this body of work circles around “losing love and reconnecting with herself.” The works in the booth range in price from $5,500 to $16,000.

With works by Johanna Bath and Dimitris Tampakis

Booth N7

Three hanging sculptures line the front of Amsterdam-based Enari Gallery’s booth. Part of Dimitris Tampakis’s “Charmides” series, the two aluminum dagger-like casts represent figures that chime upon impact, embodying what gallery founder Christina Voulgari describes as “philosophical tension and ritualized intellectual conflict.”

The sculptures foreground a series of zinc-based etchings of hands also on view. These include Presumption of Innocence (2025), which depicts hands emerging from the shadows. The gallery pairs Tampakis’s work with a series of intimate portraits by Johanna Bath. In gesture (2025), for instance, a hand caresses a cheek in a soft photorealistic style, representative of the artist’s 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.

With works by John Rivas

Booth A30

John Rivas 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’s booth that reflects on his enduring connection to his homeland and family. The booth’s wallpaper, a sunset horizon, reproduces the first painting Rivas created on his return from El Salvador.

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 (2025)—embellished with patches, clay, a wooden cross, crayons, and more—Rivas honors his grandmother’s house, a site central to his memory and identity.

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 (2025), depicts the artist’s father drinking beer. “With my art, I shine a light to be an example who they champion not just for the family’s legacy, but for my people, ancestors, and those who come after me,” Rivas told Artsy. Works in the booth range in price from $3,000 to $25,000.

With works by Mychaelyn Michalec

Booth C41

Denver gallery K Contemporary is presenting a selection of Ohio-based artist Mychaelyn Michalec’s hand-tufted wool tapestries. Most of the works portray women and birds in intertwined or distressed forms, addressing the “concept of hysteria,” as the artist told Artsy.

Michalec emphasized that hysteria—referring to an unmanageable emotional state once associated mainly with women—remained a medical diagnosis until 1980. This work critiques that history as evidence of a government systematically suppressing women’s voices and lived realities. Don’t let a bird’s feathers fool you (2025), for instance, depicts a wide-eyed woman whose appendages are transforming into goose heads.

Gallery founder Doug Kacena noted that this conflation underscores how women are often associated with bird imagery in language—called “chicks,” or kept in a “gilded cage.” The works in the booth are priced from $5,000 to $25,000.

With works by Raina Lee

Booth A72

Taiwanese American artist Raina Lee’s 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.

Boston gallery LaiSun Keane is presenting 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.

Many of these works also feature artworks as their subject matter. For instance, Calder Mercury Foundation (2025) depicts a famous work by Alexander Calder located in Spain, and Mujer at Fundació Joan Miró (2025) was inspired by her visit to Joan Miró’s foundation in Barcelona. By the middle of the fair’s VIP day, the gallery had already sold half of the presentation, with pieces ranging in price from $1,800 to $4,000.

With works by Maysey Craddock

Booth B78

Inspired by the wildlife around Memphis and New Orleans, Maysey Craddock’s haunting gouache paintings capture the ephemerality of those untamed landscapes. New York’s Sears-Peyton Gallery presents 11 of these paintings at its booth.

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.

Each painting imbues trees with a personal emotional resonance, drawn from the artist’s own archive of place and memory. In Every Waiting Heart (2025), for instance, a tree leans into a marsh-like landscape, draped in Spanish moss against a sunlit horizon.

“This whole legacy of production and the recycled materials [the paintings are] made from—maybe not always—it’s that repurposing and kind of returning [the bags] to the trees,” she said in an interview with the gallery. Prices for these works range from $6,000 to $32,000.

With works by C.Lucy R. Whitehead, Lorena Lohr, and Georgina Odell

Booth A8

Georgina Odell’s hanging steel mobile All These Dreams (2025), anchors London tastemaker Soho Revue’s booth. This work, priced at $4,800, creates steel renditions of origami paper fortune tellers, hanging them in a style reminiscent of Alexander Calder’s 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’s oil paintings, featuring fleshy, contorted forms performing in front of a curtain, as in the disquieting Honey I’m Home (2025). These works range from $2,700 to $14,000. The third artist, Lorena Lohr, portrays nude women in richly detailed landscapes both mythical and tangible. These works are priced around $4,500.

“Bringing 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—desert pastel landscapes in Lohr’s, sharp playground games in Odell’s, and nebulous forms in Whitehead’s,” said the gallery’s founder, India Rose James.

With works by Billy Childish, Laura Footes, Vanessa Raw, and Lola Stong-Brett

Booth A3

Positioned near the entrance of the Untitled tent, Kent, U.K.–based Carl Freedman Gallery showcases five visceral, defiantly “ugly” ceramics by British sculptor Lindsey Mendick. Each work—priced at $23,000—is encrusted with symbols of vice and luck: alcohol shooters, lemons, slot machine numbers. Mendick’s sculptures revel in the unruly beauty of excess.

They’re grouped with frenetic abstract paintings by Lola Stong-Brett, including At Night I Sit and Beg for You (2025) on the back wall, where wild gestural marks churn across the canvas. Nearby, more intimate figurative works introduce a different tension: Laura Footes’s Anxious Bathers (2025), showing a mass of scarlet bodies, and Vanessa Raw’s Step Into the Magic We Know (2025), depicting two nude women kissing in a forest. It’s a booth that meets visitors head-on with bold images that are impossible to ignore.

With work by Laura Berger, Aaron Glasson, and Matt Phillips

Booth A33

Detroit’s Louis Buhl & Co. presents three artists new to its program, with themes around the natural world prevalent in their works.

Laura Berger’s 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 (2025), for instance, depicts six nude figures bathing in the waterfall, rendered with muted colors that lend a tranquil emotion.