Untitled Art is set to return once again to Miami Beach this December 4–8, 2024, bringing together an impressive range of international galleries and artists and a full slate of special programming. For the forthcoming edition, a new theme has been announced, “East Meets West,” a dynamic subject that taps into some of the ideas and discourse that have garnered increasing attention throughout the art world.

“Since our inception, we have approached each fair edition with a unique curatorial perspective, placing a strong emphasis on equity and inclusivity across the entire art ecosystem,” said Untitled Art Executive Director Clara Andrade. “The theme ‘East Meets West’ for Untitled Art’s 2024 edition emerged from conversations about broadening our ongoing curatorial efforts by incorporating new voices that are often underrepresented in the traditional Western-dominated art world, while also continuing to give visibility to and support non-mainstream art hubs. This theme reflects a timely need to integrate more diverse voices into the global narrative of contemporary art, especially those from Eastern Europe, Asia, and the Middle Eastern regions. Emerging from numerous conversations with our curatorial team, guest curators, artists, galleries, peers, and industry professionals, this theme goes beyond simply appreciating diversity; it underscores our shared responsibility to cultivate a deeper understanding of the global community in which Untitled Art plays a vital role.”

The fair invited guest curators Kathy Huang and Jungmin Cho to spearhead the thematic focus and guide the 13th edition’s selection process. Ahead of the fair, we reached out to Huang and Cho to learn more about what went into undertaking this project, and what visitors can expect to find in store.

Left: Kathy Huang. Photo: Luca Verner. Courtesy of the Greatest Magazine. Right: Jungmin Cho.

What has the experience been like curating and developing the theme of East Meets West? How long has this project been in the works?

Jungmin Cho: Kathy and I started looking through the applications to curate the Nest section at the beginning of this year and took several months. We exchanged ideas on galleries and even engaged in discussions with some to explore their interpretations of the East Meets West theme. It was fascinating to see how galleries from different countries approached the theme and curated their booths accordingly, and I gained valuable insights throughout the process.

I remained mindful of avoiding oversimplified perceptions of Asia and focused on highlighting its diversity. To do so, I aimed to balance presentations from established galleries with alternative spaces that reflect the region’s dynamic realities.

Kathy Huang: We’ve been actively working on this project since the summer, reviewing gallery applications and artist selections. It’s been exciting to witness the ways in which our ideas and expectations of the theme evolved throughout the selection process, challenging my own initial interpretation, which, in hindsight, was perhaps narrower than I had first understood.

Huang Baoying, Unwanted Child (2024). Courtesy of Mou Projects.

What are some of the benefits of approaching this theme through the lens of an art fair like Untitled?

JC: Untitled’s curatorial themes always provide a strong and cohesive framework for emerging art spaces, artists, and curators, offering fresh challenges and a sense of joy that aligns perfectly with the fair’s vibrant atmosphere. As an Asian curator primarily based in Asia, it’s a true pleasure to introduce remarkable art spaces and artists to one of the most internationally diverse cities in the U.S.

KH: Miami is one of the most diverse cities in the country, with over half of its residents having been born outside of the U.S. And as one of the city’s most internationally diverse art fairs, Untitled is uniquely positioned to address this theme. Bringing together these international galleries under one roof allows us to present an array of interpretations of the theme across regions.

East Meets West is a massive topic, what are some of the ways you homed in on specific areas of focus or angles?

JC: Building on my experience running the art space White Noise in Seoul, I focused on how artists and galleries in Asia reflect local contexts while observing and engaging in global conversations. My aim was to highlight galleries committed to fostering communities that address the realities of today, revisiting historical, cultural, and aesthetic exchanges to reshape current East-West dialogues.

KH: The theme is intentionally broad to allow for many interpretations by galleries that understand the theme in different ways depending on their location, focus, or roster of artists. Jungmin and I also each curated a selection of works for the Vortic Art Prize, which allowed us to home in on a specific group of artists or area of focus.

Lee Sejun, The Night of Crows in Possible Worlds (2024). Courtesy of Willing N Dealing.

Are there any highlights from the forthcoming fair you’re particularly excited about that you can yet tell us about?

JC: I’m excited to see the South Korean gallery Willing N Dealing, which started as an alternative space and now highlights emerging artists, collaborates with institutions, and expands into the art market. Con Tokyo presents experimental Japanese and international artists to young collectors through its dynamic programs. Artist-run space Starch, which fosters local communities with diverse gatherings in Singapore, will bring a fresh perspective too. Additionally, I’m eager to see New York-based collaborative curatorial gallery, Transmitter’s special booth focusing on Southeast Asia and the SWANA region, as well as A.I. Gallery’s presentation featuring a diverse lineup of Asian artists.

KH: I’m particularly excited about the Nest sector which features emerging galleries, collectives, and non-profit organizations. Some first-time participants of the fair, and this sector, include Mou Projects, Hong Kong; Rajiv Menon Contemporary, Los Angeles; and Latitude Gallery, New York.

Justin Lim, Prosperous Sojourn (2024). Courtesy of Richard Koh Fine Art.

How do you see this theme and edition contributing to or fitting within current ongoing dialogues around East and West?

JC: The Asian art scene has garnered significant attention, with many young Asian artists and galleries gaining international focus, which is incredible. However, in the U.S., the perspective is often narrow or sporadic, shaped by only a few galleries and artists, which can sometimes lead to stereotypical frameworks or discourses. This edition of Untitled brings a new layer to the Asian art scene, offering a glimpse into the vibrant diversity that can typically only be experienced when traveling to Asia. I hope this serves as a threshold for introducing Asian and Asian Diaspora art to a wider audience and expanding boundaries to galleries so current interest in the Asian art scene can be continuous.

KH: I hope this year’s theme encourages viewers to reconsider the concept of East and West as a binary, inviting reflection on how these distinctions are evolving in response to shifting political, social, and cultural paradigms. As global connectivity deepens through social media, increased travel, and the flow of ideas, the very terms “East” and “West” may need to be redefined—or perhaps eventually rendered obsolete—as ways to describe contemporary art and culture.

What do you hope visitors to the fair will take away with them?

JC: Joy! If people can feel a sense of freshness and be inspired to take an interest in contemporary Asian art, that would be the best.

Untitled Art Miami Beach will be held December 4–December 8, with a VIP Preview on December 3, 2024.