The first-ever Untitled Art fair in Houston demonstrated remarkable success with strong sales figures, impressive attendance, and enthusiastic participation from local collectors, signaling a potential shift in the art market toward Texas. Despite featuring only 88 participating galleries—half the size of its established Miami Beach counterpart—the inaugural Houston edition generated significant buzz and robust commercial activity throughout its opening days.
By the conclusion of opening day on Thursday, September 18, several galleries reported exceptional results. Los Angeles-based Megan Mulrooney Gallery achieved a complete sellout of works by artists Mason Owens and TJ Rinoski, while other participating galleries including Rajiv Menon from Los Angeles and New York's Swivel Gallery documented steady sales throughout the event.
The fair's top sale came from Houston-based Sicardi Ayers Bacino gallery, which sold a work by renowned artist Carlos Cruz-Diez for $415,000. Other notable transactions included Jessica Silverman Gallery from San Francisco selling a bronze sculpture by Clare Rojas for $150,000, and Houston's McClain Gallery securing between $70,000 and $125,000 for two paintings by John Alexander. Most participating galleries reported consistent performance in the mid-market range, with works priced between $25,000 and $50,000 showing particularly strong sales.
The collector base proved diverse and geographically spread, drawing attendees and buyers from Houston, Dallas, Austin, the Bay Area, New Orleans, Los Angeles, and San Francisco. Local Houston gallery Laura (The Gallery) successfully sold five works by artist Shuling Guo to prominent regional collectors, a pattern that other dealers observed throughout the fair.
Erin Goldberger from Half Gallery, which operates in both New York and Los Angeles, noted increased interest from Houston-based advisors and collectors in recent years. "I started to see more advisors and collectors reaching out from Houston," Goldberger told reporters. "In the past few years we've switched up the fairs we've been doing in general." When asked about her gallery's decision to skip New York's Armory Show earlier this fall, Goldberger cited financial considerations: "Mostly the cost. The booth is extremely expensive. We're not a blue-chip gallery, but we're too old to get these emerging gallery prices. The exposure wasn't really enough. I didn't feel like I gathered a bunch of new clients. And you're basically breaking even, even when you're in New York. This is a good way to expand into new territories without fully breaking the bank."
Gallerist Michael Kohn emphasized the importance of geographic diversification in the current market environment. While acknowledging that it's difficult to match the critical mass found in major city centers like New York and Miami, Kohn stressed that substantial collector bases exist beyond these traditional hubs. He highlighted the growing importance of diversifying participation across cities including Aspen, Houston, Dallas, and Seattle as both the fair model and broader art market continue to evolve.
The energy at the fair's VIP preview opening on Wednesday, September 17, around 1 p.m., was notably high according to multiple observers. This enthusiasm represented a stark contrast to the sluggishness that has characterized many art fairs since the market downturn began at the end of 2023. For several days, broader market concerns appeared to take a backseat to the excitement surrounding the new Houston venue, evidenced by galleries' confidence in presenting daring selections of large-scale works across multiple mediums.
Texas brings substantial art world credentials to support such an endeavor, boasting a rich cultural history that includes Donald Judd's legendary compound in Marfa and strong museums and institutions distributed throughout Fort Worth, Austin, San Antonio, and Dallas. Houston specifically houses several world-renowned institutions, including the Menil Collection, which oversees both the Rothko Chapel and the Cy Twombly Gallery, as well as the Museum of Fine Arts Houston, among numerous others.
Several participating dealers viewed the fair as an opportunity to strengthen institutional relationships within Texas. Charlie James, a Los Angeles-based dealer, explained that he traveled to Houston specifically to solidify connections with local institutions, many of which have previously acquired works by artists featured in his booth for their permanent collections.
The timing proved particularly meaningful for Houston's own Moody Gallery, which celebrated its 50th anniversary concurrently with the fair's opening. Lee Steffy, the gallery's assistant director, noted that while several art fairs have attempted to establish themselves in Houston in recent years, Moody Gallery has been eager to support these initiatives through active participation. Steffy praised Untitled Art's organization, describing them as "not only wonderful to work with, [but] so professional," and expressed that the gallery was "tickled and excited to support this fair."
