Untitled Art has brought the heat—as well as some highly appreciated air conditioning—to its 14th edition on sunny South Beach. The fair’s commitment to fostering new talent and introducing fresh voices to the art-world mainstream is on full display this year, both in the Nest sector of the fair (which offers subsidised booths to emerging galleries) and throughout its airy tent. Untitled was abuzz with patrons during Tuesday’s day, with institutional figures like the mega-collectors Don and Mera Rubell and the curator Hans Ulrich Obrist on hand.
New sections for solo and non-profit booths alongside the fair’s biggest Special Projects sector to date point to bounding optimism in the wake of Untitled’s successful Houston debut in September. The fair’s embrace of the decorative is particularly palpable in 2025 as a notable trend comes to the fore—“not-quite-paintings”, or three-dimensional wall works that render indelible images with sculptural, bas-relief elements. Of the 160 exhibitors at Untitled this year, a broad cross-section are presenting lush, texturally complex wall hangings in a range of unexpected materials.
Stand-out art hums and pops
Among this year’s stand-outs is Márton Nemes’s Stereo Paintings 11b (2025), selling for $40,000-$50,000 on the stand of Marc Straus. The Hungarian
multimedia artist melds abstraction and sound in colourful compositions that pop and hum in equal measure. He represented Hungary at the 2024 Venice Biennale, moving his graffiti-inspired tableaux into a multisensory realm. In his Stereo Paintings series, lasercut steel, car paint and wood both eclipse and reveal a working speaker, putting a contemporary spin on audience immersion.
Márton Nemes’s Stereo Paintings 11b (2025)
Courtesy of Marc Straus Gallery
Meanwhile on the Bitforms Gallery stand, the New York-based artist Siebren Versteeg is showing his long-standing penchant for technology in History (2003), a re-creation of the History Channel’s logo ($65,000). Versteeg is the scion of an art-fabrication family—his father worked with Robert Indiana and Claes Oldenburg—and the piece represents his fascination with mass media and its fraught, enduring influence on culture.
The French artist Élise Peroi, whose work is on view at Carvalho’s stand, has trained her focus on the meditative aspects of woven silk. After painting on the textile itself, she cuts her image into thin strips, which she then uses to create an ethereal, planar experience for the viewer. Her piece Songes II (2022) already sold for $17,500.
Another highlight is Dale Frank’s They’re a loving couple, everyone said as much (2025), selling at Neon Parc’s stand for $65,000. Considered one of Australia’s most important artists, Frank is a master of finish, working in Epoxyglass and perspex to create a physical mirroring of the viewer within the field of his art objects.
And the Albertz Benda stand presents work by the Los Angeles-based designer, artist and activist Tanya Aguiñiga. Her experience growing up near the Mexico-US border informs her “performance crafting” practice. Aguiñiga’s cotton-rope woven piece Seven Sisters series speaks to the intergenerational legacy of care in her community, referencing feminine strength and memory. Her work Seven Sisters (Celaeno) (2025) is priced at $20,000.
Tanya Aguiñiga’s Seven Sisters (Celaeno) (2025)
Courtesy of Albertz Benda
Finally, the Nigerian artist Samuel Nnorom infuses his Ankara fabric sculptures with a painterly quality at the Kates-Ferri Projects stand. His work Moving Towards Opportunity (2025, on offer for $19,500) operates as a metaphor for society’s fabric, placing the complicated history of Ankara textile production front and centre in his colonial critique.
