At Art Basel Miami Beach, a quiet revolution is taking shape. Galleries from Africa and its diaspora, long underrepresented on global stages, are now stepping boldly into the spotlight. Their presence is not just an assertion of identity but a redefinition of how the art world engages with African creativity—a sprawling, intricate tapestry of histories, cultures, and futures.
“Africa has always been and continues to be a major catalyst for incredible ideas around art and aesthetics,” Koyo Kouoh, executive director and chief curator of the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), remarked during the event. Her words underscore the shifting dynamics: the long-overdue recognition of African and Black diasporic art as foundational to global artistic discourse.
This year, Art Basel Miami Beach which runs from December 6 to December 8, is a witness to an invigorated conversation. Five galleries rooted in Africa bring their unique perspectives to the fair, alongside programs that celebrated the depth and diversity of Black creativity. For many attendees, it is a watershed moment, a signal of the art world’s willingness to engage more deeply with art from the continent.
Among the exhibitors, Afriart Gallery from Kampala, established in 2002 by Daudi Karungi, represents artists like Tanzania’s Sungi Mlengeya, whose minimalist, monochromatic paintings are a quiet yet powerful meditation on identity and space. Gypsum Gallery from Cairo, founded in 2013 by Aleya Hamza, p "Today in History," a project by Dina Danish. The Egyptian artist, based in Amsterdam, weaves contemporary media imagery into hand-stitched tapestries, playfully reimagining medieval banners with a satirical edge.
Rele Gallery, another standout, embodies a new era of African artistic ambition. Since its inception in Lagos in 2015, under the leadership of Adenrele Sonariwo, Rele has expanded to Los Angeles and London, showcasing artists like Gladys Kalichini and Tonia Nneji. Similarly, Smac Art Gallery, based in South Africa, brings multidisciplinary works by Simphiwe Buthelezi, whose explorations of materiality push boundaries and provoke thought. Meanwhile, the Goodman Gallery—a stalwart with locations in Cape Town, Johannesburg, London, and New York—presents a dynamic roster including South African maestro William Kentridge and Ghanaian sculptor El Anatsui.
For decades, accessing art from Africa often required adventurous determination, a willingness to step outside traditional collecting circles. But times have changed. Increasingly, African art is no longer seen as niche but as integral—a perspective borne out in the growing prominence of artists and galleries at events like Art Basel.
This year’s showcase served as a powerful reminder of what has been missing—and what is now being reclaimed. In the textured works of Simphiwe Buthelezi, the poignant threads of Dina Danish’s tapestries, and the commanding presence of El Anatsui’s sculptures, there is a shared story: one of resilience, innovation, and a refusal to be ignored.
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