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Untitled Art

Houston

September 19 – 21, 2025

Gustavo Díaz. From the series: "Golden Writings." Writings knotted like nests. 2024. Cut out paper. 19 11/16 x 24 11/16 x 2 in.

Gustavo Díaz. From the series: "Golden Writings." Writings knotted like nests. 2024. Cut out paper. 19 11/16 x 24 11/16 x 2 in.

Gustavo Díaz. From the series: "Golden Writings."Writings that move but are not water. 2024. Cut out paper. 19 11/16 x 24 11/16 x 2 in.

Gustavo Díaz. From the series: "Golden Writings."Writings that move but are not water. 2024. Cut out paper. 19 11/16 x 24 11/16 x 2 in.

Jorinde Voigt, Yellow Hills V, 2017. Signed, Ink, aluminium leaf, pastel, oil chalks and graphite on paper, 58 ⅞ x 39 x 3 ½ in. (149.5 x 99 x 9 cm.)

Jorinde Voigt, Yellow Hills V, 2017. Signed, Ink, aluminium leaf, pastel, oil chalks and graphite on paper, 58 ⅞ x 39 x 3 ½ in. (149.5 x 99 x 9 cm.)

Carlos Cruz-Diez. Physichromie Panam 200, 2015. Chromography on aluminum, acrylic. 27 9/16 x 27 9/16 inches.

Carlos Cruz-Diez. Physichromie Panam 200, 2015. Chromography on aluminum, acrylic. 27 9/16 x 27 9/16 inches.

Carlos Cruz-Diez. Physichromie Panam 69, 2011. Chromography on aluminum, acrylic. 27 9/16 x 27 9/16 inches.

Carlos Cruz-Diez. Physichromie Panam 69, 2011. Chromography on aluminum, acrylic. 27 9/16 x 27 9/16 inches.

Carlos Cruz-Diez. Physichromie 1886, 2014, Chromography on aluminum, acrylic, 39 ½ x 59 ½ x 1 ¾ in.

Carlos Cruz-Diez. Physichromie 1886, 2014, Chromography on aluminum, acrylic, 39 ½ x 59 ½ x 1 ¾ in.

Carlos Cruz-Diez. Physichromie Nº 492, 1969, Cardboard, acrylic, wood, 15 ¾ x 15 ¾ in.

Carlos Cruz-Diez. Physichromie Nº 492, 1969, Cardboard, acrylic, wood, 15 ¾ x 15 ¾ in.

Gabriel de la Mora. 8,789, 2025. 3,196 concave and 5,593 convex blown glass fragments, and aluminum on museum cardboard, 35 7/16 x 35 7/16 x 13/16 in.

Gabriel de la Mora. 8,789, 2025. 3,196 concave and 5,593 convex blown glass fragments, and aluminum on museum cardboard, 35 7/16 x 35 7/16 x 13/16 in.
 

Gabriel de la Mora, 763 I Ur.Ri., 2024, Urania ripheus butterfly wings fragments on museum cardboard, 11 13/16 x 11 13/16 x 13/16 in.

Gabriel de la Mora, 763 I Ur.Ri., 2024, Urania ripheus butterfly wings fragments on museum cardboard, 11 13/16 x 11 13/16 x 13/16 in.

Melanie Smith. Psychoactive render 29, 2022, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 29, 2022, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.
 

Melanie Smith. Psychoactive render 31, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 31, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 32, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 32, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 33, 2024, Pigments on veneered wood panel, 14 15/16 x 13 ⅜ in.

Melanie Smith. Psychoactive render 33, 2024, Pigments on veneered wood panel, 14 15/16 x 13 ⅜ in.

Melanie Smith. Psychoactive render 27, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 27, 2023, Pigments on veneered wood panel, 21 ⅝ x 21 ⅝ in.

Melanie Smith. Psychoactive render 34, 2025. Pigments on veneered wood panel, 15 ¾ x 15 ¾ in.

Melanie Smith. Psychoactive render 34, 2025. Pigments on veneered wood panel, 15 ¾ x 15 ¾ in.

Gustavo Díaz. The mysterious man, the secret friend of O. Messiaen, resists letting the birds go. Seeing that his failure is inevitable, he collects a few feathers with the intention of eternalizing their flight... minutes later, a bird came down the walk, .... someday in May of 1981.

Gustavo Díaz. The mysterious man, the secret friend of O. Messiaen, resists letting the birds go. Seeing that his failure is inevitable, he collects a few feathers with the intention of eternalizing their flight... minutes later, a bird came down the walk

.... someday in May of 1981.

2024. Cut out paper.  28 1/32 x 85 7/16 in.

Reynier Leyva Novo. Solid Void #1, 2022, 500 objects cast in USG Hydrocal White Gypsum Cement, and a wooden table, 235 x 144 in.

Reynier Leyva Novo. Solid Void #1, 2022, 500 objects cast in USG Hydrocal White Gypsum Cement, and a wooden table, 235 x 144 in.
 

Press Release

Untitled Houston Art Fair
Hall A – Third Floor
Booth B13

Carlos Cruz-Diez, Gabriel de la Mora, Gustavo Díaz, Melanie Smith, Jorinde Voigt, Reynier Leyva Novo

Sicardi | Ayers | Bacino is pleased to announce its participation in Untitled Houston Art Fair, taking place at the George R. Brown Convention Center in Houston, Texas, from September 18–20, 2025. The gallery will present a dynamic group exhibition in Booth B13, featuring works by Carlos Cruz-Diez, Gabriel de la Mora, Gustavo Díaz, Melanie Smith, and Jorinde Voigt. In addition, a Special Project by Reynier Leyva Novo, his installation Solid Void, will be presented in the hallway adjacent to Booth B13.

VIP & Press Preview
Thursday, September 18 | 1 pm – 9 pm | By Invitation Only

Public Hours
Friday, September 19 | 12 pm – 8 pm
Saturday, September 20 | 12 pm – 8 pm
Sunday, September 21 | 12 pm – 6 pm

Location
George R. Brown Convention Center Hall A – Third Floor
1001 Avenida de las Americas, Houston, Texas 77010

Carlos Cruz-Diez (1923–2019)
A master of kinetic and optical art, Cruz-Diez devoted his life to investigating the behavior of color and the perception of movement. His celebrated Physichromies activate with the viewer’s motion, transforming static geometry into a shifting chromatic experience that demands slow, careful observation.

Gabriel de la Mora (b. 1968, Colima, Mexico)
Educated in architecture (BA, Universidad Anáhuac del Norte, 1991) and photography and video (MFA, Pratt Institute, 2003), De la Mora transforms found, discarded, and obsolete materials through seemingly alchemic processes into exquisitely crafted objects. His works explore desire, surface tension, and the symbolic presence of loss embedded in the very materials he employs.

Gustavo Díaz (b. 1969)
Through a meticulous blend of hand drawing and digital precision, Díaz maps the behavior of complexity and chaos theory in delicate paper collages. Laser-cut and layered into lace-like structures, his works dazzle with their intricacy while evoking the invisible patterns of scientific thought.

Melanie Smith (b. 1965)
Working across painting, installation, and video, Smith examines perception and spatial instability. Her Psychoactive Renders—pigment on veneered wood panels—create subtle optical shifts that encourage viewers to look slowly and reconsider the boundary between reality and illusion.

Jorinde Voigt (b. 1977)
Voigt creates conceptual drawings that translate internal processes of thought, emotion, and sound into complex visual systems. Often inspired by music, her compositions merge gesture and calculation, generating poetic constellations of lines, numbers, and color.

Reynier Leyva Novo (b. 1983)
Novo’s conceptual practice engages history, politics, and collective memory. Using data, archives, and objects, he transforms intangible information into physical form, as in his installation Solid Void, which makes absence strikingly present.