Contemporary African Art

A Curated Journey Through African Creativity

From Lagos to Cape Town, from the streets of Abidjan to the studios of the diaspora, contemporary African art is reshaping global creativity. At OOA Gallery, we offer a curated gateway into this vibrant, bold, and deeply human artistic movement.

Aboudia - Les trois amis III, 2018

Contemporary African Art: A Dynamic Force in the Global Art Market

Over the past decade, contemporary African art has garnered increasing recognition on the international stage. This movement signifies a profound aesthetic and cultural shift. For seasoned collectors and new enthusiasts alike, investing in contemporary African art means engaging with bold, relevant creations deeply rooted in today's dynamics.

At OOA Gallery, our mission is to spotlight the best emerging artists from the African continent and its diaspora, creating a space where identity, memory, innovation, and aesthetics converge.

In his iconic artwork titled "Les trois amis III," Aboudia fuses graffiti aesthetics, African symbolism, and the raw energy of street culture. The trio of childlike figures expresses both vulnerability and resistance, reflecting the artist’s ongoing dialogue with the streets of Abidjan. Bold, layered, and emotionally charged, the piece stands as a visual manifesto of contemporary African expression.
Prince Galla Gnohité, Complicité (2021)

A Pluralistic Art: Between Roots and Reinvention

Contemporary African art defies singular categorization. It is diverse, evolving, and hybrid. Drawing from traditions without being confined by them, it embraces global influence while maintaining distinctiveness.
Artists such as Aboudia, Armand Boua, Mederic Turay, Emeka Udemba, and Prince Galla Gnohité exemplify this duality, blending traditional techniques with urban influences, cultural heritage with personal visions.
While Gnohité’s work is rooted in the vibrancy of everyday life in Abidjan, it transcends reportage: his acrylic portraits of street children offer a deeply human and poetic perspective on resilience, joy, and the social fabric of West African cities.

Titled "Complicité," this poignant portrait of two children beautifully captures the tenderness, resilience, and emotional vibrancy of everyday life in Abidjan. Gnohité’s expressive figurative style masterfully bridges traditional storytelling with a contemporary artistic language, offering a vivid illustration of African creativity at the crossroads of heritage and reinvention.
Why Collect Contemporary African Art Today?

1. Unquestionable Artistic Value: African contemporary artists create with freedom, technical mastery, and narrative power comparable to the most established art scenes.
2. Strong Sociopolitical Engagement: Their works address major contemporary issues—history, gender, memory, ecology, migration—imbuing them with universal significance.
3. Investment Potential: African artists are gaining increasing recognition, with rising valuations, international exhibitions, and growing museum acquisitions.
4. An Engaged Collection: Collecting contemporary African art supports vibrant, critical creation and contributes to a more global representation of African voices.

Oluwole Omofemi, Fearless (2021)

Featured on the poster of the Africa Supernova exhibition (Schulting Art Collection), this striking portrait by Nigerian artist Oluwole Omofemi embodies the strength, dignity, and resilience of contemporary African womanhood. Omofemi’s work exemplifies the fusion of technical mastery and profound narrative, making it a compelling representation of the dynamic force of African art in today's global market.
Megan Gabrielle Harris, Wanderlust (2022)

A Rapidly Expanding Market

The market for contemporary African art is among the most dynamic today. Fairs like 1-54, AKAA, Art X Lagos, and Investec Cape Town Art Fair attest to this growth, as do major auction houses and international museums incorporating more African artists into their collections.
Artists such as Oluwole Omofemi, Aboudia, Matthew Eguavoen, ANJEL (Boris Anje), and Okoye Chukwuemeka John are experiencing rising prominence, attracting a cosmopolitan generation of collectors drawn to their unique universes and the emotional and critical depth of their works.
Megan Gabrielle Harris, whose emotionally charged, introspective portraits have met with exceptional collector interest since 2022, exemplifies this new wave of African and diasporic artists reshaping the market through deeply personal yet universally resonant work.

In her artwork titled "Wanderlust," Megan Gabrielle Harris captures a moment of serene introspection, depicting a solitary figure gazing upon a vast, dreamlike landscape. The painting embodies the artist's exploration of escapism and the inner world, themes that resonate with the evolving narratives in contemporary African art. Harris's work, characterized by its emotive depth and technical finesse, exemplifies the dynamic growth and global appeal of the African art market today.
Tiffany Alfonseca, La Trinidad (Bochinche) (2024)

Identity and Diaspora: Creating Between Worlds

A fundamental aspect of contemporary African art is its connection to the diaspora. Creating from Lagos, Abidjan, Dakar, Kinshasa, Cape Town, Nairobi, Douala, London, Paris or New York many artists assert a plural and fluid identity.
Oliver Okolo, Simone Brewster, Tiffany Alfonseca, Jomad, and Miska Mohmmed embody this diasporic richness. They navigate between cultures, narratives, and aesthetics to forge new imaginaries, reconcile fragmented memories, and affirm a reimagined African identity.

In her artwork titled "La Trinidad (Bochinche)", Tiffany Alfonseca, captures the essence of Afro-Latinx identity through a vibrant portrayal of three women engaged in intimate conversation. The artwork reflects the fusion of Dominican heritage and contemporary aesthetics, embodying the complexities and beauty of diasporic experiences.
BOB-NOSA, Shut Up II (2019)

Social Commentary and Visual Activism

Contemporary African art is deeply engaged, often rooted in critical observation of the continent's social, political, and economic realities—and those of its diasporas. It functions both as a mirror and a voice of dissent.
BOB-NOSA, Francis Mampuya, Daniel Onguene, and Abdias Ngateu use their practices as tools of social commentary and visual storytelling, taking a stand against injustice, violence, and postcolonial trauma. Their works provoke, denounce, and mobilize, all while expressing a strong and personal artistic language.
Ebenezer Akinola engages in a form of postcolonial storytelling. Through dignified portraiture, he restores visibility and complexity to African identities long marginalized. His work challenges colonial representations, deconstructs stereotypes, and offers new forms of visual storytelling centered on pride, resistance, and cultural sovereignty.

With raw textures, vibrant colors, and visceral emotion, his artwork titled "Shut Up II" embodies BOB-NOSA's activist approach to art. The work confronts repression, violence, and the silencing of marginalized voices, standing as a powerful visual protest and a bold affirmation of resistance in contemporary African art.
Tradition and Modernity: The Thread of Continuity

Many African artists embrace their roots while confronting present realities. They reinterpret ancient knowledge, spiritual symbols, and artisanal techniques, integrating them into works that are both contemporary and deeply cultural.
Marion Boehm, Boukaré Bonkoungou, and Méné build bridges between past and future by reimagining textiles, architectural forms, and narratives of transmission.
Mederic Turay embodies a powerful synthesis of tradition and modernity. His works blend ancestral African influences, graffiti, abstraction, and universal symbolism. He explores tensions between collective memory and identity transformation, revisiting African mythologies through a contemporary and spiritual aesthetic.

Médéric Turay performing live painting on the Paseo Marítimo of Sitges,
working on Can I Tell You a Secret (2024)

In this behind-the-scenes moment, Mederic Turay embodies his dual approach — merging ancestral symbology with a raw, contemporary visual language. His process reflects a deep engagement with African spiritual heritage and its transformation through modern artistic expression. The painting is characterized by its vivid colors and layered imagery, featuring abstract forms and symbolic elements that evoke a sense of ancestral memory and contemporary experience. Turay's technique reflects a fusion of traditional African aesthetics with modern urban influences, creating a dialogue between past and present. The title itself, Can I Tell You a Secret, suggests an intimate exchange, prompting viewers to engage with the artwork on a personal level. The composition's complexity mirrors the layered nature of secrets and the human psyche, encouraging contemplation and introspection. Turay's work is known for its exploration of themes such as spirituality, transformation, and the interconnectedness of life. In this piece, the interplay of materials and forms serves as a metaphor for the multifaceted nature of human identity and the secrets we carry within.
Daniel Onguene, Le Chasseur du Soir (2022)

Migration and Urbanization: Landscapes of the Present

The transformation of major African cities, demographic pressures, and internal and transcontinental migrations are central themes in many contemporary works. These dynamics shape fluid identities and ever-changing environments.
Armand Boua, Onyis Martin, Larry Otoo, Francklin Mbungu, and Abdias Ngateu capture the complexity of urban life, its tensions, rhythms, struggles, and vitality. Through scenes saturated with color, symbols, and figures, they visually convey the raw energy of African metropolises.
Daniel Onguene’s stark, expressive portraits confront the socioeconomic hardships of contemporary Cameroon, set against somber urban backdrops of decay and neglect. Yet, through bursts of vibrant color and resilient figures, his work affirms an enduring spirit of hope, dignity, and perseverance amid adversity.

In Le Chasseur du Soir (“The Evening Hunter”), Cameroonian artist Daniel Onguene offers a striking meditation on the daily hustle of urban survival. The painting features a solitary figure—likely a street vendor—standing in a desolate, twilight-toned urban setting, holding a pair of sneakers as if they were trophies or tools of trade. The backdrop, marked by graffiti and industrial debris, echoes themes of marginalization and economic struggle.

The vendor is not just selling — he is hunting for opportunity, navigating the complex ecosystems of African city life where resilience and adaptability are vital for survival. Onguene’s choice of vivid, saturated colors contrasts with the gritty environment, suggesting a tension between aspiration and reality, light and decay, creativity and necessity.

The work is rich in metaphor: the act of selling becomes a ritual of self-assertion, the sneakers a symbol of mobility, status, or transformation. There is dignity in the subject’s stance, rendered with the quiet strength that characterizes many of Onguene’s protagonists. The artist transforms what might be a fleeting urban scene into a layered commentary on agency, labor, and hope in the shadows of economic precarity.

Ultimately, Le Chasseur du Soir is a powerful visual statement about the informal economy as a space of both vulnerability and creativity—a theme central to contemporary African art and society.
"Rebirth 2” (2024) by Oluwole Omofemi

Afrofuturism: Reimagining the Past to Envision the Future

Afrofuturism is a powerful artistic vision where Africa's past fuels speculative projections of the future.
Oluwole Omofemi stands as a prominent figure in this movement. His portraits of Black women—sovereign and visionary—reconcile ancestry and future in a vibrant and symbolic aesthetic. ANJEL (Boris Anje) and REWA also adopt this approach, blending culture, imagination, and identity assertion.

“Rebirth 2” is a landmark artwork by Nigerian artist Oluwole Omofemi, whose practice delves into the intersections of cultural heritage, Black identity, and futuristic vision. The painting depicts a Black woman with a clean-shaven head and subtle traditional facial markings. Her posture is upright, her gaze direct—radiating a calm intensity and quiet strength. Behind her stretches a vibrant golden yellow background, evoking sunlight, spirituality, and clarity.

In this portrait, Oluwole Omofemi transcends naturalistic depiction to deliver a symbolic meditation on rebirth and self-possession. The title itself—Rebirth—suggests not only a personal renewal but a broader cultural and spiritual reawakening. The shaved head, often a marker of transition or transformation, becomes here a sign of empowerment and identity reclamation. The facial markings subtly allude to ancestral memory and ritual, anchoring the subject in a lineage while projecting her toward an unapologetically self-defined future.

Visually, the work is striking for its minimalist composition and rich emotional resonance. The stark contrast between the dark skin and the luminous yellow field heightens the subject’s presence, creating an almost iconic effect. The viewer is invited not just to see, but to contemplate—who she is, what she represents, and the future she embodies.
“Rebirth 2” is ultimately a visual manifesto of Afrofuturism. It reclaims the Black female form as a space of imagination, autonomy, and cultural pride. In Omofemi’s hands, the portrait becomes both a personal affirmation and a collective vision—one that honors the past, engages the present, and dreams forward.
African Art Reimagined Through Recycled and Upcycled Materials

In response to environmental challenges, several African artists are redefining what constitutes artistic materials through recycled art, upcycled compositions, and eco-art practices. Artists like Patrick Tagoe-Turkson and Doff (Appolinaire Guidimbaye) embrace a sustainable art approach by transforming reclaimed objects, worn textiles, and industrial waste into poetic and critical artworks. Their creative processes honor the memory of materials, challenge consumption habits, and explore the delicate balance between artistic expression and environmental responsibility.

Patrick Tagoe-Turkson – “Abunanun 2” (2022)

In Abunanun 2, Ghanaian artist Patrick Tagoe-Turkson transforms environmental waste into cultural expression. Created entirely from discarded flip-flops collected along the beaches of Ghana’s Western Region, the work is part of a broader practice that fuses ecological awareness with traditional aesthetics. The result is a large-scale horizontal tapestry, meticulously arranged into geometric compositions that echo the patterns of Kente cloth, a symbol of Ghanaian heritage.

Patrick Tagoe-Turkson’s process involves cutting, assembling, and stitching the rubber fragments, turning what once floated lifeless in polluted waters into a vivid narrative surface. Each fragment carries traces of prior journeys—worn textures, faded colors, and fractures—which collectively speak to human presence, movement, and consumption.

The title “Abunanun”, derived from the Fante language, refers to a spirit or ancestral energy, subtly invoking the memory held in these objects and the cultural significance of reuse. The horizontal orientation of the piece suggests continuity and flow, reinforcing the artist’s commitment to both environmental cycles and artistic rhythm.

Abunanun 2 is more than a reclamation of material—it is a reclamation of meaning. It invites viewers to reflect on the beauty of repurposing, the dignity of labor, and the creative resistance embedded in sustainability. It is an act of reparation as much as of art-making, reclaiming discarded fragments to restore both ecological and cultural balance.

Doff (Appolinaire Guidimbaye) – “Black Beyond Darkness I” (2023)

In Black Beyond Darkness I, Chadian artist Doff (Appolinaire Guidimbaye) constructs a visceral and meditative composition from the discarded detritus of the modern world. Using paxalu (a waterproofing material often used in industrial construction), recycled plastics, and fragments of wood, Doff builds a textured, shadowy surface that both absorbs and emits meaning. The work reads like a stratified landscape of decay, yet it resists despair—offering, instead, a solemn and poetic statement on survival.

The deep blacks and earth-tones dominate the visual field, evoking themes of burial, concealment, and forgotten histories. But rather than being a void, darkness here is fertile—a symbolic terrain where new narratives are incubated from what society casts away. Through his assemblage technique, Doff reclaims the dignity of neglected materials, presenting them as witnesses of consumption, globalization, and environmental neglect.

The title Black Beyond Darkness serves as both a metaphor and a provocation. It alludes to blackness as a physical, cultural, and political state—not just an absence of light, but a realm of depth, resistance, and complexity. The layered materials become archives of memory, each scratch or stain hinting at previous utility and abandonment. This piece is emblematic of Doff’s practice: a confrontation with ecological crisis that refuses spectacle, choosing instead intimacy and tactility. It speaks not through grand gestures, but through material truth, making us confront what we overlook daily—what we consume, discard, and deny.
Material Forms: Contemporary Sculpture in Focus
Andrés Montalván Cuéllar – Sin título (2024)

While painting dominates much of the contemporary African art scene, sculpture is emerging as a powerful and expressive medium through which artists explore memory, form, materiality, and space. At OOA Gallery, we proudly represent sculptors whose practices expand the boundaries of three-dimensional art.

Andrés Montalván blends organic materials with poetic gestures, producing tactile works that evoke ritual, nature, and transformation. His sculptural language connects the physical and the spiritual, drawing on both ancestral traditions and a contemporary ecological awareness.
Rémy Samuz explores the tension between figuration and stylized form through dynamic, textured sculptures. His work reflects on identity, movement, and the human condition, using metal and other raw materials to construct pieces that feel both grounded and in motion.
Together, these sculptors challenge conventional understandings of African and diasporic art, and offer collectors a bold, tactile engagement with form and meaning.

"Sin título (2024)": This powerful sculpture by Andrés Montalván presents two opposing human heads—one white, one rust-toned—emerging from a monumental half-circle form. Stark in contrast yet bound within the same material base, the figures appear locked in a silent exchange, evoking questions of identity, duality, ancestry, and perception.

Crafted in rusted steel and cast heads, the work invites reflection on human connectivity across distance and difference. The semi-circular base, raw and elemental, recalls the earth, a vessel, or even a horizon line—bridging the physical and symbolic. Andrés Montalván’s poetic minimalism offers a sculptural language that speaks to both ritual and rupture. This piece exemplifies his ongoing interest in the dialogue between material and spirit, form and meaning. The textured surface and minimal color palette draw attention to presence, absence, and the thresholds of understanding.
Rémy Samuz — Petit Penseur (2024)

In "Petit Penseur", Beninese artist Rémy Samuz distills the complexity of human introspection into a refined and poetic sculptural form. Crafted entirely from woven iron wire, the figure is seated, slightly hunched forward, absorbed in thought — an unmistakable allusion to Rodin’s iconic Le Penseur, yet reimagined through a uniquely African and contemporary lens.

Rémy Samuz’s technique is inspired by bird-nesting structures, which he mimics with a patient, meditative weaving of metal. The result is a sculpture that feels simultaneously delicate and powerful, light in appearance yet dense with meaning. The porous structure allows air and light to penetrate the form, reinforcing the idea that thought and identity are never solid, but fluid, shifting, and in constant negotiation. The choice of industrial wire, a humble and raw material, contrasts with the elegance of the human pose, symbolizing the tension between fragility and strength, contemplation and construction. Petit Penseur is not only a figure of thought, but a metaphor for building self-awareness, wire by wire, moment by moment.

Rémy Samuz’s work challenges the conventional expectations of African sculpture. Rather than using mass and monumentality, he explores volume through absence, presence through transparency. This piece speaks to both individual reflection and the broader social condition, embodying a quiet resistance and resilience.
Moses Zibor – Reincarnation (2021)

Symbolic Realism and African Surrealism: The Inner Dimension

Within the landscape of contemporary African art, a growing number of artists are exploring the intersection of realism and surrealism to evoke the unseen — spiritual, psychological, or political dimensions that underlie African experience.
Moses Zibor exemplifies this symbolic and introspective approach. Drawing on classical techniques and allegorical composition, his paintings blend hyperreal figures with surreal motifs — veiled identities, ancestral spirits, floating objects — to explore themes of identity, morality, power, and redemption.
His work resists literal interpretation: it invites viewers into a space of reflection, where traditional iconography meets dream logic and existential questioning. Through this fusion, Moses Zibor reclaims the surreal as a tool of storytelling, critique, and inner excavation — positioning himself within a wider movement of African artists reshaping spiritual and psychological narrative through contemporary form.

In Reincarnation, Nigerian artist Moses Zibor constructs a dense, symbolic composition where technical realism meets quiet surrealism. A Black woman stands tall and composed, wrapped in a flowing dress adorned with Kazakh ornamental patterns — a subtle visual reference to the artist’s own cultural journey between West Africa and Central Asia.

Beside her stands a majestic bird of prey, rendered with anatomical precision. Embedded within its feathers lies a human skull, not held, but absorbed — suggesting a silent merging of spirit and matter, memory and presence. The bird appears neither threatening nor gentle, instead embodying the ambivalence of the ancestral: both guardian and reminder, both heritage and burden. Surrounding the central figures, a network of thin, organic branches weaves across the background like a nervous system — part natural environment, part psychic landscape. The scene invites reflection on themes of identity, inheritance, and the invisible forces that shape us. The symbolic tension in the work is heightened by its stillness: the figures do not act, but radiate presence. Through this painting, Moses Zibor reclaims African Surrealism not as an escape from reality, but as a method of revealing hidden truths — about memory, cultural hybridity, and the inner dimension of the postcolonial experience. Reincarnation is not about literal rebirth; it is a meditation on transformation through remembrance.
Cut, Layer, Reveal: Collage in Contemporary African Art

Collage, by its very nature, is a medium of assembly and disruption — of creating through cutting, layering, and recomposing. In African contemporary art, it has become a powerful tool for exploring themes of identity, history, memory, and fragmentation. At OOA Gallery, two distinctive voices bring the language of collage into sharp focus.
David Thuku, from Kenya, uses precise paper cuts and minimalist layers to explore urban environments, social structures, and identity. By cutting through surfaces, he reveals what lies beneath — questioning the roles we play in public and the truths we hide in private.
Francklin Mbungu, from the DRC, brings a vibrant, expressive energy to his collage practice. Drawing on Kinshasa's street culture, popular iconography, and comic-strip aesthetics, his pieces combine humor, resistance, and movement. His cut-outs are dynamic portraits of contemporary African life — simultaneously political and poetic.

Through collage, these artists manipulate both material and meaning, crafting works that speak to the complexity of modern African experience in all its layers.
David Thuku – Untitled IV (2019)

In Untitled IV, Kenyan artist David Thuku engages in a meticulous process of cutting, scraping, and layering paper to investigate themes of identity, social structure, and urban anonymity. This work belongs to his Empty Seats series — a visual inquiry into absence, occupation, and the silent narratives that inhabit public space.

Through sharp, clean incisions and subtle tonal variations, David Thuku peels back the surface to reveal hidden geometries and inner forms. The act of cutting becomes metaphorical: each layer removed exposes not just material depth, but conceptual depth. What lies beneath is not merely aesthetic — it suggests hidden truths, unspoken roles, and the complexity of individual presence within collective systems. With minimal color and maximum precision, Untitled IV exemplifies a quiet yet powerful form of critique — a modern, abstract cartography of African urban life and social identity.
J’aime ma Femme — which translates to I Love My Wife — is a vibrant, expressive collage by Congolese artist Francklin Mbungu, rooted in the visual culture and energy of Kinshasa. Combining hand-cut paper, comic-inspired stylization, and popular urban iconography, the piece captures an intimate and joyful scene from contemporary African life.

On the left, a Black woman holds an open umbrella above her head, her upper body upright, as she gazes at the man across from her with calm, confident affection. On the right, the man plays the guitar, serenading her with a quiet gesture of love. Their eye contact and posture suggest a shared intimacy — a moment of connection in the flow of city life. Beneath its lively surface, the work affirms themes of Black love, cultural pride, and everyday resistance. Francklin Mbungu uses collage not just as a technique, but as a visual language of storytelling — one that blends humor, emotion, and critique. His use of bold flat color and stylized outlines recalls comic books, but the emotional depth is unmistakable.

J’aime ma Femme becomes both a declaration and a celebration — of partnership, of presence, and of life lived fully and visually in the streets of Kinshasa.
Marion Boehm – Aida (2022)

Cross-Cultural Dialogues: Non-African Artists Rooted in Africa

Contemporary African art is not defined solely by geography, but by engagement. Some of the most resonant artistic voices today are those of non-African artists who have chosen to live, work, or deeply immerse themselves in African cultures and realities, creating a visual language of empathy, collaboration, and shared experience.
Marion Boehm, used to work with textiles and historical references to honor African women and heritage. Her large-scale mixed media portraits combine archival imagery with contemporary reinterpretation, creating a layered discourse on beauty, strength, and memory.
Olivia Mae Pendergast, who lives and works in East Africa, captures daily life, quiet moments, and human dignity with sensitivity and grace. Her paintings are characterized by their delicate palettes, soft intimacy, and profound respect for her subjects.
Bruce Clarke, with a long-standing commitment to Rwanda and South Africa, blends political history with abstract forms. His work explores trauma, collective memory, and resilience, often addressing post-genocide identity and the unfinished business of justice.
These artists are not outsiders — they are committed witnesses and active participants in the evolving narrative of contemporary African art. Their work expands the conversation and reinforces the idea that Africa is not just a place of origin, but also of inspiration, collaboration, and profound creative energy.

Aida is a striking mixed media portrait by German artist Marion Boehm,, who draws on her deep connection to African culture to celebrate the strength and dignity of African women. The work features a regal Black woman adorned in traditional African textiles, which Marion Boehm, integrates directly into the canvas through collage.

The combination of photographic realism and layered materials gives the portrait both historical weight and contemporary relevance. The woman’s upright pose and calm, powerful expression reflect themes of resilience, heritage, and self-possession. Through Aida, Marion Boehm, reclaims classical portraiture to center African identity and womanhood, creating a visual dialogue between cultures grounded in empathy and respect.
Leading Voices on the International Scene

Several artists from our selection are gaining significant attention in the international market and among active collector circles:
- Oluwole Omofemi – A leading figure in Afrofuturism, with strong market valuations and iconic works.
- Aboudia – A prominent artist in the contemporary African scene, collected worldwide.
- Megan Gabrielle Harris – Celebrated for her introspective, emotionally resonant portraits, she has become one of the most collected artists in our program, standing out through her subtle, intuitive storytelling and contemporary take on diasporic femininity.
- Armand Boua – Sought after for his social and poetic works on urban conditions.
- REWA – Highly regarded for her reinvention of Black beauty in a refined aesthetic.
- Ajarb Bernard Ategwa – A rising star at art fairs, known for his pop and urban visual language.
- Matthew Eguavoen – Rapidly ascending, appreciated for his powerful identity-focused works.
- ANJEL (Boris Anje) – Highly visible among young international collectors, blending urban culture and African luxury.
- BOB-NOSA – An activist figure, whose impactful works are sought after for their political strength.

Our Personalized Support — OOA Art Advisory

At OOA Gallery, we go beyond the traditional gallery experience. Through our bespoke Art Advisory Service, led by Alexandra Collado, we provide personalized guidance to individual collectors, corporations, and cultural institutions. Whether you're starting a collection, expanding with strategic acquisitions, curating private exhibitions, or enhancing your legacy, our team offers confidential, expert support rooted in a deep understanding of the contemporary African art market. We provide exclusive access to our network of artists, curated insights, and a long-term vision tailored to your aesthetic and investment goals.

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Further Reading on Contemporary African Art