Untitled Art, Houston Brings Together 98 Galleries in Its Second Edition

Untitled Art, Houston held its second edition until October 4, 2026, gathering 98 galleries at the George R. Brown Convention Center. This marks an 11% increase in exhibitors compared to the inaugural event, which featured 88 galleries. The fair showcased a strong local presence, with about one fifth of the exhibitors coming from Texas, particularly Houston-based galleries. Returning participants included established names such as Inman Gallery, McClain Gallery, Moody Gallery, and Sicardi Ayers Bacino, alongside younger Houston galleries like Laura (the gallery) and Seven Sisters, as well as Martha’s from Austin.

Notably, none of the five Dallas-based galleries that participated last year returned for this edition. The fair also attracted international galleries, including Kaufmann Repetto, which operates in New York and Milan and shared a stand with Anton Kern Gallery, and Nara Roesler, with locations in New York, Rio de Janeiro, and São Paulo.

Sales during the VIP preview on October 1 reflected interest in artists connected to Texas. Moody Gallery sold Mary McCleary’s Earth Felt the Wound for $80,000, while McClain Gallery sold Dorothy Hood’s Tixo in the Morning for $95,000 to a new local collector. Richard Saltoun Gallery, with spaces in London, New York, and Rome, sold paintings by Bea Scaccia priced between $15,000 and $40,000 to both new and international clients. Los Angeles-based galleries Megan Mulrooney and Feia reported selling out their stands during the preview, while Laura (the gallery), PFA Gallery from Washington, DC, Tulsa Artist Fellowship, and Night Gallery came close to selling out.

The fair benefited from a new floor plan at the George R. Brown Convention Center, which improved visitor flow and created a more open atmosphere despite the increased number of exhibitors. Houston’s unique environment, characterized by a lack of comprehensive citywide zoning laws, has contributed to affordable studio spaces and the emergence of DIY art spaces in warehouses, strip malls, and residential areas.

This affordability and availability of space support a thriving artistic community, offering room for experimentation and growth that is increasingly rare in major American art hubs. The city’s energy wealth has historically influenced its collecting community, with notable collectors attending the VIP opening.

Among the artists featured were Houston-based Emily Peacock, whose diaristic and nostalgic photography was presented by Seven Sisters gallery. The fair also included works by Los Angeles-based artist Raina Lee, whose painted ceramic postcards attracted attention. The diversity of materials and artistic approaches on display reflected the dynamic nature of the Houston art scene and its capacity to nurture both local and international talent.