Ten Years Later, Her Feminist Gallery is Still Relevant

On the occasion of The Untitled Space’s tenth anniversary, artist Annika Connor speaks to its founder, her gallerist, the artist-curator, Indira Cesarine, about her breakthrough exhibition and the return of many of its artists for the current anniversary show. Serving as a bold artistic response to the misogyny surrounding Trump’s presidential campaign in 2016, UPRISE/ANGRY WOMEN solidified the gallery’s position as a champion for women’s rights. During its panel discussion, Rose McGowan spoke out about rampant sexual abuse in Hollywood—an alarming revelation that would, through other channels, lead to the rise of the #MeToo movement. Over the years, The Untitled Space’s exhibitions and panels have given voice to women artists of all creed—often sparking great controversy.

Cesarine also shares her perspective on more women participating in the art market and her gallery’s evolving feminist mission. 

Annika Connor: Congratulations, Indira, on the ten-year anniversary of The Untitled Space gallery. As an artist who has been exhibiting with you since your first group show, it’s been remarkably inspiring and rewarding to work with you over the past ten years. As we celebrate the gallery’s success, I can’t help but look back and applaud you for the innovative and culture-shifting programming you have developed and presented at the gallery over the years.

Indira Cesarine: Thank you so much for your thoughtful words and for allowing me to reflect on The Untitled Space’s journey. It has been an incredible decade of growth and impact, and I’m truly grateful to have worked alongside so many brilliant artists, curators, and activists. You’ve been part of this journey from the very beginning.

Connor: Yes, I have enjoyed being an artist at The Untitled Space and am delighted to reflect on the gallery’s history and your role as an artist, curator, and activist in Cultbytes. What inspired you to create The Untitled Space? What was your vision when you first opened the gallery?

Cesarine: The Untitled Space was initially launched because I wanted to create a platform that focused on women in art—as a female artist myself, I felt that there was a massive gap in that market. There were not that many [for-profit] galleries at that time exhibiting women artists, let alone feminist art. It was actually quite difficult as a female artist to get exhibitions, as it was a very male-dominated art market. I felt strongly that it was important to create a platform where female artists could be celebrated. When I launched the gallery, nobody was talking about the female gaze in art. So, one of my first exhibitions was The F Word: Feminism in Art, [in 2015], which was about the female gaze.

Connor: I remember, and I was part of that show! I also moderated its panel, on fourth-wave feminism, where we were in conversation with Coco Dolle, Kristen Korvette, and Natalie White.

Cesarine: I always envisioned a gallery where the work on display could be a vehicle for activism, dialogue, and social change and where the art could speak to larger cultural conversations. The gallery’s name, ‘Untitled,’ reflects that idea—art doesn’t have to be boxed into a specific title or category; it’s about the power of expression and the message it conveys. I wanted to focus on exhibiting art that could challenge the status quo and push the boundaries of art. A lot of our early shows were quite controversial, which is incredible considering it was only 10 years ago, as they emphasized female artists which was not a focus of the art world. Exhibitions I have curated, like One Year of Resistance or Art4Equality x Life, Liberty & The Pursuit of Happiness use the gallery as a platform for a collective voice, giving artists a space to engage with the current political climate in a meaningful and impactful way. Throughout history, artists have used their work to question, to provoke, and to challenge the systems in place and I see art as a powerful catalyst for conversations around social justice, gender, and equality. My work is about pushing people to think, feel, and engage with issues in ways that are both visceral and intellectual. Over the last decade, our narrative evolved to include marginalized artists as a whole, not just women artists but also LGBTQ+ artists and artists of color.

Connor: Fantastic, you are constantly responding to the needs of both your public and your artists. Over the past decade, the gallery has become known for its focus on feminist and socially engaged art. It has also been a time of change and turmoil in America. How do you see your role as an activist and change-maker in these turbulent times?

Cesarine: In many ways, the political climate we’ve faced over the last decade has fueled my commitment to activism through art. The Untitled Space has always been a space for the exploration of social issues, whether it’s in the form of feminist art, conversations around reproductive rights, or political resistance. As an artist, curator, and activist, I believe in the power of art to ignite change, raise awareness, and challenge the status quo. We’ve been able to create exhibitions that reflect the urgency of our times, whether it’s addressing inequality, challenging stereotypes, or supporting marginalized communities. Being an activist means not just speaking out but creating a space where others can do the same. I’m committed to using The Untitled Space as a platform for artists whose work is about more than aesthetics—it’s about making a statement and contributing to the larger cultural conversation. I believe that art has the power to catalyze social change.

This is a very urgent time in this country, and it’s a time for everyone to respond and for artists, in particular, to get out there and make artwork that challenges what is going on in this country with Trump’s extreme political agenda. Additionally, by partnering with charitable foundations and non-profit organizations, we leverage art to raise awareness and funds for critical causes. This approach not only supports artists but also contributes to broader social movements, making art a tool for positive change.

Connor: You have partnered with and helped raise funds and awareness for many charities and non-profits over the years, like Art4Equality, ERA Coalition, and SheShouldRun, which advocate for gender equality and empowering women. This year, with Art4Equality, you will also launch the Art4Equality Prize to provide artists aligned with your mission with resources and recognition for their work. I applaud the much-needed support you are providing for artists with these shows and opportunities. Apart from your work with non-profit organizations, can you recall a particular exhibition or piece in a show at The Untitled Space that made a real-world impact?

Cesarine: The first exhibition that made a real-world impact was when I launched UPRISE/ANGRY WOMEN when Trump was initially elected president. As you may recall, this was a very turbulent time in American history. Everyone expected Hillary Clinton to win, making history as the first female president. But when Trump—called out for his sexual misconduct, racism, and open misogyny—was elected, shock turned to protest. Immediately after he was elected, I started working on the UPRISE / ANGRY WOMEN exhibition, which brought together 80 female artists, including Rose McGowan, and a number of incredible female artists that I still work with today, all responding to his presidency and its blatant misogyny. It became a turning point for the gallery. We had presented some previous exhibitions that touched on activist themes, but this was the first one that really made an impact, and that put the gallery on the map as a gallery that elevated artwork about women’s experience, and themes of activism and social justice. It was our first internationally received exhibition and was featured in the news around the world—we had newspapers in Asia and magazines in Europe and South America covering the show—Newsweek to Vogue, Harper’s Bazaar, Vice, i-D, and Nylon.

The 2016 presidential election brought to the surface extremes of sexism, racism, and discrimination. Many women were deeply disturbed not only by the negative stereotyping and sexist attitudes towards women that had surfaced but also by the threats to roll back women’s rights. The exhibit, which opened in January 2017, gave female artists a means to express themselves in regard to the social and political climate in America and empower others with their visual imagery. It was presented in partnership with ERA COALITION, a political organization working to support the passage and ratification of the Equal Rights Amendment, which allowed us to amplify its important cause while supporting artists whose work addressed equality.

Our current 10th anniversary exhibition, UPRISE 2025: The Art of Resistance, is inspired by this renowned 2017 exhibition, which truly marked a moment of solidarity, bringing together a diverse group of artists whose work boldly addressed gender equality, reproductive rights, and the fight for justice. Building on the legacy of the 2017 exhibition UPRISE 2025 expands upon this vision, bringing together artists from all genders to continue the dialogue and amplify the message of resistance.

Connor: It is an incredible show featuring over 100 artists, many of whom you have worked with in the past, including myself. What are some of your most relevant and fascinating pieces for sale?

Cesarine: The show includes compelling video and photography works by Rose McGowan, as well as paintings by the controversial artist Anna Delvey. Jemima Kirke, widely recognized for her role in GIRLS, contributed several pieces to the exhibition. Victoria DeLesseps created a stunning painting inspired by the feminine divine. Sarah Maple, a celebrated UK-based activist artist, also has her works on display. We are honored to feature Robin Tewes, one of the original Guerrilla Girls, alongside pioneering feminist artist Grace Graupe-Pillard and her striking painting Scorched.

Additionally, Ashley Chew—a model, activist, and painter—brings her unique perspective to the exhibition. The late Fahren Feingold, who passed away in 2023, is represented with her evocative watercolors. Her work holds a special place in our gallery’s history, as she was the first artist we officially represented, and we continue to represent her estate. Other standout contributors include Kat Troronto, AKA Miss Meatface, whose art explores themes of femininity and identity following her personal experience with a hysterectomy. Her work previously appeared in our UPRISE / ANGRY WOMEN exhibition, and we have continued to represent her since that show. Alison Jackson’s photography also makes a powerful statement in the show. Other notable artists include street artist Molly Crabapple, the photography duo Synchrodogs, celebrated painter Reisha Perlmutter, as well as Sophia Wallace, known for her “cliteracy” artwork, who is also part of the stellar lineup.

The exhibition isn’t limited to female artists. It also features a number of male artists whose works address pressing issues, including immigration rights, human rights, and inequality, like sculptors Michael Wolf, Zac Hacmon, Sunday Olaniyi, Geoffrey Stein, as well as Michael Rose, who we recently featured with a solo show in February. Each of the artists brings a unique perspective and voice to contemporary art. I encourage anyone interested in collecting these powerful works to check out the exhibition and the artists also through our online platforms.

Connor: That is interesting that you mention online platforms. What is your take on the evolving art market? Have you noticed any shifts in how people buy art, especially after the pandemic?

Cesarine: The art market has definitely evolved in the wake of the pandemic. With the shift to online platforms like Artsy, more collectors are becoming comfortable buying art online. Our gallery has certainly noticed and has adapted by expanding our online presence on Artsy and our own site, The Untitled Art Boutique. This digital expansion has allowed us to connect with collectors worldwide, making art more accessible and democratizing the art market.

The pandemic also gave people more time to reflect on their lives, and many turned to art as a way to bring meaning and beauty into their spaces. Socially conscious art, in particular, has been in high demand, with buyers increasingly looking for works that reflect their values. It’s exciting to see more young collectors, as well as more women and socially conscious buyers entering the market. I think this is a sign of the times, with the younger generation being more aware and engaged with social and political issues than ever before.

Connor: Have you found that social media or online platforms like Artsy have changed how you approach gallery sales?

Cesarine: Absolutely. Social media has become a vital tool for promoting exhibitions, engaging with collectors, and building community. Additionally, they allow us to engage with a global audience and provide access to art that might otherwise be out of reach. Platforms like Instagram enable us to share behind-the-scenes insights into our exhibitions and artists, fostering a deeper connection with our community, while online sales platforms streamline the buying process, creating an opportunity for more immediate and transparent sales, making it easier for collectors to discover and purchase art from anywhere in the world.

Connor: Have you noticed any difference in how private collectors versus institutions collect work?

Cesarine: Private collectors support artists directly and often drive trends in the market, while institutions provide a long-term perspective, preserving art for future generations. Private collectors are often more flexible and open to new ideas, which has led to a rise in the purchase of cutting-edge, socially engaged works. Institutions, on the other hand, tend to be slower and more cautious in their acquisition strategies. They often require more time to recognize the value of emerging artists or politically charged works, but it’s exciting to see that changing as more institutions become aware of the importance of contemporary, socially engaged art.

Connor: What advice would you give to someone starting an art collection today?

Cesarine: I would advise new collectors to focus on building a collection that resonates with them personally, not just based on trends. Art should evoke an emotional response, and collecting work that aligns with your values is key. I also recommend supporting emerging artists—many of the most exciting voices in contemporary art are still in the early stages of their careers. Don’t be afraid to take risks. Art is not just a commodity; it’s a way to foster creativity and change. Start by exploring different mediums and themes until you find what speaks to you. Don’t be afraid to ask questions or seek advice from galleries and curators. Building a collection is a journey, and it should be enjoyable and fulfilling.

Connor: How do you balance the roles of artist and curator, and do you find them feeding into each other creatively?

Cesarine: It’s a delicate balance, but I’ve found that my roles as both artist and curator feed into each other in a very dynamic way. As an artist, I am constantly thinking about how to push boundaries, tell stories, and express emotions through visual art. When I’m curating exhibitions, I bring that same creative energy into the process, trying to create shows that not only speak to important themes but also evoke a strong emotional response from the audience. While, curating has also pushed me to think more deeply about how the art world works and how artists are represented, which in turn influences my own work. The act of curating and working closely with other artists has made me more attuned to the power of collaboration and collective expression, which is something I carry into my own creative process. This synergy fosters a continuous cycle of creativity, ensuring that both my art and curatorial work remain fresh and impactful.

My work as an artist has always been focused on empowering feminist themes and elevating women’s voices. Community spirit is a component of my artwork, in that I am not just telling my story, I try to tell the story of other women in my work and celebrate women’s history. As a curator, I create a community, a tribe, so to speak, bringing like-minded artists together in solidarity. There is a synergy of artists who are coming together on themes that they are passionate about. I almost see my work as a curator as part of my artwork, my work is so focused on the female experience, as well as addressing narratives of empowerment. I believe that as a curator, I’m extending my work as an artist to include other artists. That’s a really important part of my process—to create a platform where it’s not just about my work. It can be about other artists who have stories that align with my vision and what I’m trying to put out in the world. There are a lot of artists out there who equally find it important to create work that addresses sociopolitical issues and are not just interested in decorating walls, right?