Based in Johannesburg, FNB Art Joburg is the leading and longest running contemporary African art fair on the continent. In its 19th edition this year, FNB Art Joburg continues to play an instrumental role in developing and sustaining a commercial industry that centres around African and diasporic practitioners.
A platform where curatorial and commercial interventions meet, the fair is divided into eight specialised sections: gallery HUB, gallery LAB, ARC, MAX, GIF, INK, AUX, and ORG sections.

Beyond, but centred around the three-day fair, FNB Art Joburg remains committed to audience and collector development through an educational platform and immersive programming respectively known as the BMW Collectors Co., The BMW Art Generation and Open City.

Beyond oil and canvas lies 'Matereality V2', a major ten-month exhibition opening on 21 August 2026 at the Iziko South African National Gallery.

Curated by Andrea Lewis, the exhibition brings together artists whose practices position material not simply as a medium, but as the very substance through which meaning is produced. Moving beyond conventional approaches to painting and sculpture, 'Matereality V2' foregrounds works that engage with unexpected, historically resonant and conceptually charged materials, each carrying its own processes, narratives and significance.

The show brings together a bold and diverse range of women artists who are reshaping the visual and conceptual language of contemporary South African art. Working across painting, sculpture, and photography, these artists challenge, subvert, and reimagine both genre and gender as structures of meaning and modes of power.

The title plays on the slippage between categorisation and identity — artistic form and social role. Historically, genre has served to organise art just as gender has been used to organise people. In both cases, hierarchies have been enforced and deviations suppressed. The works we are presenting resist and reclaim those frameworks, refusing containment and asserting new terms of engagement.

The artists we have brought together confront inherited expectations about what “women’s art” should look like or speak to, forging instead their own aesthetic and political vocabularies. Some mine the canon, reworking traditional genres with irony or reverence; others construct new visual languages rooted in queer, diasporic, or embodied experience. Collectively, their work exposes how genre and gender intersect with race, class, sexuality, and history to shape how art is made, seen, and valued.

Gender/Genre is not a manifesto but a map — partial, shifting, and deliberately unresolved.