This year, the Harlem Fine Arts Show took center stage at The Glass House NYC, a modern space overlooking the Hudson River. Since its inception in 2009, HFAS has hosted over 80,000 visitors. It has traveled to more than 10 cities and showcased numerous artists and galleries. It’s the largest traveling African Diasporic art show in the United States. The show highlights the rising influence of Black art in today’s market.
“We are building more than an exhibition—we are building an ecosystem.”Richard E. Pelzer II, Managing Partner and General Manager
A distinctive feature of the Harlem Fine Arts Show is its reframing of ownership of Black art, building on its expanded platform and mission. For too long, there has been a belief that collecting fine art is exclusive, elite, or out of reach. Richard E. Pelzer II shared this: “We create an environment where first-time collectors feel as welcome as seasoned investors. We educate, demystify pricing, and encourage conversations between artists and buyers. Acquisition becomes personal, relational, and empowering. Access changes everything. Ownership means equity, intellectual property, and collections that increase over time and circulate within families. It teaches communities that art is an asset class rooted in narrative power and cultural preservation. The creative economy is real. Art remains one of the most accessible entry points into generational thinking. You can begin with a print, an emerging artist, or simply something that moves you. The point is to begin. At HFAS, we create connections between artists and collectors that feel human, not just transactional. Transparency creates trust. Trust builds markets. Markets build sustainability. Ultimately, reshaping art ownership means shifting from consumption to investment, from appreciation to acquisition, and from attending culture to owning culture.”
How has the experience of being a Black artist evolved from when you began your career to today, and how do collectors and audiences engage differently with your work now compared to earlier in your career?
DionJa’Y: By learning the business of art, I’ve grown as an artist. Many of us want to focus only on creating, but I learned that patrons and followers want to know you personally. They invest in the story behind the work, which is us.
My work has evolved as well. I transitioned from 2D paintings to more mixed-media 3D works. The engagement now is often one of amazement.
Knowing I was operating within a world filled with art giants, I understood I had to evolve my techniques. I worked to develop a distinctive style, something uniquely mine. This helped me stand out and be recognized even more.
How did you maintain belief in your work during periods when representation in galleries and museums was limited? What does it mean to exhibit your work specifically within a space like the Harlem Fine Arts Show?
DionJa’Y: Years ago, I was rejected by galleries. At the time, I didn’t understand it. I felt my work was just as strong as what I saw hanging in galleries. After a while, I began to lose faith in ever being accepted by that world. But I also knew that art is what God created me to do. That belief never left me.
Instead of waiting for approval, I decided to elevate my craft. I went directly to collectors and art enthusiasts. They judge based on what moves them and what speaks to their spirit, not on gatekeeping. I’ve always believed my art can have a deeper conversation with you than I ever could in words. Today, I have been a resident artist at Artstination Gallery in National Harbor, Maryland, for the past 4 years. Here, I continue to thrive. The Harlem Fine Arts Show is our show — a powerful platform for African American artists, boldly presenting our stories on canvas and bringing them to the world stage. It is more than an exhibition; it is a movement that uplifts, connects, and celebrates our creative voices.
How does your identity as a Black artist shape the stories you feel compelled to tell?
Arogunmati: My identity as a Black woman and artist shapes everything I create. My work centers on emotional richness, strength, vulnerability, and the changing position of women in society. Being Black is not just a descriptor. It is a lived experience. It informs how I see power, resilience, silence, struggle, and transformation. Through abstraction, layered color, and line, I examine themes of equality, identity, and the internal worlds that are often unseen but deeply felt.
Are there more opportunities for artists in Nigeria or the United States, and why?
Arogunmati: Both countries offer different kinds of opportunities. The United States has a more structured art market ecosystem, with galleries, collectors, media platforms, and institutional networks that are more established and globally visible. Nigeria, however, is experiencing rapid growth and energy within its contemporary art scene. There is innovation, bold experimentation, and increasing global attention. The key difference is infrastructure and access. The U.S. delivers broader international exposure, while Nigeria offers cultural richness and authenticity rooted in lived experience.
How has social media influenced how you create or share your work?
Arogunmati: Growing up in the age of social media has expanded access and visibility. It allows artists to avoid traditional gatekeepers and to speak directly to international audiences.
However, it also demands intentionality. I create from an authentic place, not for algorithms. Social media is a tool for sharing process, dialogue, and connection, but the studio is still a sacred, offline space for experimentation and reflection.
This year, the Harlem Fine Arts Show is spotlighting multidisciplinary artist and designer Fitgi Saint Louis. Her work is cultural storytelling and community connecting. She created a one-of-a-kind artwork for this year's show, titled Black Sunflower.
Fitgi Saint-Louis also has an outdoor installation on 124th Street and Lexington Avenue in Harlem, in partnership with the New York City Department of Transportation art program. The Installation, entitled Aunties, pays homage to the women in the community it helped shape.
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