-
Kavi Gupta presents a booth bringing together artists Gordon Cheung, Alfred Conteh, Sara Rahanjam, and Haya Zaidi. Through visual traditions that were historically defined by courts, institutions, and overwhelmingly male authority, these artists have claimed those traditions from the inside, redirecting their formal vocabularies toward interiority, collective memory, and critique. Together, they constitute a full argument that the systems scripting our lives are being actively, formally, and beautifully refused.
Untitled Art, Houston is a boutique fair held from October 2 to 4, 2026 at the George R. Brown Convention Center. A VIP and Press Preview will be held on October 1. The fair’s expansion into Texas aims to engage new audiences across the city, state, and region, adding another cultural touchstone to one of the country’s largest, most diverse, and fastest-growing cities.
OPENING HOURS
Private Days
October 1
Public Days
October 2 – 4, 2026
George R. Brown Convention Center
Booth B27
-
Alfred Conteh is a leader on the vanguard of American portraiture. He uses his studio practice to explore his identity and personal history from a number of different perspectives. Born in Fort Valley, GA, and based in Atlanta, his mother is African American and his father is from Sierra Leone, West Africa. Conteh’s work concerns the ways African Americans are dealing with disparities that have been affecting their communities for generations, especially in the Southern United States.
Conteh’s paintings utilize materiality to elucidate the ways in which America subjugates its Black citizens by neglecting the infrastructure of Black neighborhoods and systematically denying Black citizens access to all the rights and privileges afforded to the majoritarian culture.
-
“When you see my work, you see cracked surfaces, weathered paint, things left to ruin. When I paint these things, that’s the reality of a people. That’s the type of story I’m telling in this work, through the materials. The only beauty that I see in it is that folks are still here despite those circumstances.”
–Alfred Conteh
-
Alfred Conteh
El, 2024Acrylic and urethane plastic on canvas
84 x 32 in.
(213.36 x 81.28 cm) -
Alfred Conteh has developed a significant relationship with the Peoria Riverfront Museum, where his work has been presented since 2022. His portrait Malik and Marquis was featured in the museum’s American Revolutionaries: Art & Disruption, and in 2024 the museum commissioned Our Greatest Inheritance, a monumental portrait of a Peoria family. Conteh’s 2025 exhibition Strangers/Kin: The Lens of Alfred Conteh brought together this commission alongside portraits including Bred, 2024, of subjects from Atlanta and Peoria, marking an important expansion of his practice beyond his longtime home city. -
Alfred Conteh
D-Chris , 2020Acrylic and urethane plastic on canvas
84 x 47.5 x 3 in
213.4 x 120.7 x 7.6 cm -
Gordon Cheung
Legend of Lake (Nanjing), 2025Financial Times newspaper, archival inkjet, acrylic, PLA filament and sand on linen
53 x 39 1/2 x 1 in.
(135 x 100 x 2.5 cm) -
Gordon Cheung
Deer Trophy No. 3, 2010Financial newspaper and acrylic on canvas
39 1/2 x 27 1/2 in.
(100 x 70 cm) -
"Because I am indeed a member of the diaspora, and the psychological state of being in an 'intermediate state' has unconsciously manifested itself in my work. I have also learned to understand this state as a special power—the ability to build bridges between different cultures, to be a member of a global community, and to observe my world through this perspective."
— Gordon Cheung
-
Gordon Cheung
Tulipmania, 2012Financial newspaper, archival inkjet and acrylic on canvas
25 x 20 in.
(63.5 x 50.8 cm) -
Gordon Cheung’s practice interrogates the visual and ideological systems that shape global capitalism, power, and identity. Working primarily in sculpture, painting, and digital media; Cheung incorporates financial newspapers, maps, and digital iconography into densely layered compositions that collapse distinctions between abstraction and representation, materiality and image. His works often feature fractured landscapes, unstable architectures, and glitch-like disruptions that evoke both economic volatility and cultural dislocation. Born in London to Chinese parents, Cheung draws on personal and geopolitical histories to examine how migration, finance, and technology intersect in the contemporary moment. By embedding source materials associated with commerce and information flow directly into the surface of the work, he exposes the infrastructures—both visible and invisible—that govern everyday life, and reflects on the existential questions of what it means to be human in civilisations with histories written by victors. The resulting paintings operate as speculative sites, where past and future, collapse and regeneration, coexist.
-
Sara Rahanjam is an artist working primarily in sculpture, performance, photography and video. Rahanjam constructs figurative objects that encode social experience directly into physical form. While her practice is grounded in the lived realities of women in Iran, her works resist illustration in favor of conceptual lines of questioning. Through her sculptures, performances, and writings, Rahanjam reflects the tension between endurance and rebellion, she channels these experiences into a broader dialogue about the collective longing for transformation that defies contemporary Iranian society. Rahanjam’s work bears witness to limitations imposed upon women while revealing the strength, beauty, and intellect that persist in defiance of those constraints. Through this interplay of personal narrative and collective consciousness, she transforms private struggle into public discourse. Rahanjam’s work balances the refinement of aesthetic inquiry with the force of advocacy. She aspires to inspire contemplation, evoke empathy, and catalyze change transforming art into a vehicle for awakening. Through her practice, Rahanjam continues to advance a vision of cultural and social evolution rooted in the unwavering pursuit of equality.
-
Sara Rahanjam
This Home is Black, 2021Bronze, fiberglass
Unique series (Persian miniature hand-painted)
4 3/4 x 7 x 6 in.
(12 x 18 x 15 cm) -
Haya Zaidi
Axis Mundi, 2026Acrylics, textiles and teawash on canvas
48 x 36 in.
(121.92 x 91.44 cm)
Frame: 50 3/4 x 38 3/4 x 2 in.
(128.91 x 92.43 x 5.08 cm) -
"These childhood lessons extend into every aspect of life: women cannot dress freely, walk alone at night, or move through public spaces without a constant sense of hypervigilance, anticipating harassment, judgment, or harm. In the home, the invisible hierarchies of family life demand compliance to male authority - fathers, brothers, husbands - and often require erasing parts of oneself to maintain love, connection, and approval, in fear of being abandoned or exiled by the family."
– Haya Zaidi
-
Haya Zaidi
Caught in the Woods, 2026Acrylics, textiles and teawash on canvas
40 x 32 in.
(101.6 x 81.28 cm)
Frame: 42 3/4 x 34 1/2 x 2 in.
(108.59 x 87.63 x 5.08 cm) -
Karachi-based multidisciplinary artist Haya Zaidi works at the convergence of Indo-Persian miniature painting, mixed media, and contemporary feminist discourse. Grounding her practice in the visual and literary lineages of South Asia, Zaidi examines how the brown female body becomes a contested site of inheritance, mythology, and resistance. Through intricate symbolism and layered narrative, she reconfigures archetypal imagery to articulate a selfhood shaped by both cultural memory and the psychic interiority of womanhood. Zaidi’s work interrogates the iconography of femininity and the systems that script its representation. Drawing from South Asian mythological frameworks and the codified language of Indo-Persian miniature traditions, she constructs new visual propositions for how the feminine may be claimed, embodied, and reimagined. Her compositions speak to questions of sovereignty and interior power, exploring how women create agency within, and in spite of, the structures that circumscribe them.
-
Haya Zaidi
A Visitor, 2026Acrylics, textiles and teawash on canvas
40 x 32 in.
(101.6 x 81.28 cm)
Frame: 42 3/4 x 34 1/2 x 2 in.
(108.59 x 87.63 x 5.08 cm) -
Untitled Art, Houston 2026: George R. Brown Convention Center
Past viewing_room
