Tucked away on Cameron Road in Ikoyi, Lagos, kó isn’t just another gallery; it’s a meeting point where Nigeria’s creative spirit feels alive. The name “kó” comes from Yoruba, hinting at ideas like “to gather” or “to build,”, but honestly, those words barely touch on what’s happening here. Since 2020, Kavita Chellaram has turned this elegant spot into something much bigger than its walls. It’s a place where artists who once lived in the shadows, names you’d only find in auction catalogues or behind closed doors, now stand out on some of the world’s biggest art stages. Think Frieze Masters in London, 1-54 in Paris, The Armoury Show in New York, and, of course, Art X Lagos. Kó connects Nigeria’s art history to the global scene and shows that heritage and modernity can boost each other when done with purpose and skill.
Discover how Lagos-based kó Gallery champions Nigerian modernists like Ben Enwonwu at Frieze Masters and major art fairs, redefining African heritage luxury worldwide.
So, What Does kó Really Mean for Art in Nigeria?
It revolves around a dual perspective. On one hand, kó champions Nigeria’s trailblazing modern artists, people like Ben Enwonwu, Yusuf Grillo, Bruce Onobrakpeya, Obiora Udechukwu, and Nike Davies-Okundaye. These artists helped shape a visual language that tackled everything from identity to tradition, all during a time when Nigeria was figuring out its place post-colonialism. At the same time, kó spotlights the new wave: contemporary painters, sculptors, textile artists, ceramicists, photographers, and digital creators from across Africa and the Diaspora. Their work keeps old conversations going but adds new layers.
Their work isn’t about chasing trends. It’s about showing how the story keeps going. Step onto 36 Cameron Road, and you’ll find exhibitions that ignore those tired boundaries between “traditional” and “contemporary.” What you see instead is the real flow of Nigerian art, a single thread running through generations. The gallery’s shows are sharp, research-backed, and grounded in real history. They put Nigerian art right at the heart of global modernism, not as some exotic side note, but as a key chapter.
Chellaram knows what she’s doing. Before kó, she launched Arthouse Contemporary in 2007 and set up the Arthouse Foundation in 2015, giving artists a space to grow. Over the years, her research and advocacy helped bring Africa’s modern masters into the international spotlight. With kó, she built a space designed for deeper dives: focused exhibitions, serious scholarship, and international reach.
How Has kó Put Nigerian Art on the Map at Frieze Masters?
Back in October 2020, kó made its debut at Frieze Masters with twelve major works by Ben Enwonwu. This wasn’t just about making a sale; it was about changing the story. Enwonwu, the first African graduate from London’s Slade School, worked across painting and sculpture through decades of change in Nigeria. His art pulled from deep Nigerian traditions, even as he built a modernist style all his own.
kó’s presentation covered four decades of Enwonwu’s work, oils, gouaches, wood carvings, and bronze sculptures. The themes were classic Enwonwu: dance, performance, and masquerades. Through these, his thinking around Negritude and Pan-Africanism came to life. By 2023, kó was back at Frieze Masters with another Enwonwu solo show, cementing his spot in the bigger conversation about modern art.
In 2021, kó brought out works by Obiora Udechukwu, a key figure in the Nsukka school, where traditional Igbo aesthetics mix with fresh, formal experimentation. The following year, Nike Davies-Okundaye took centre stage with her bold textiles, part of a Frieze Masters section honouring pioneering twentieth-century female artists. With each show, kó made a statement: Nigerian modernists stand shoulder to shoulder with their European and American peers. No need to ask for a seat at the table; they belong there.
Ultimately, these are more than just promotional opportunities. They’re arguments, curated and visual and impossible to ignore, that African modernism isn’t a footnote. It’s part of the main story, full of innovation and complexity, and it deserves its place in the global art convo.
Why Does kó’s Approach to Modern Nigerian Art Matter?
For years, modern Nigerian art lived in this odd in-between space. Inside Nigeria, people loved it. Outside? Not so much. Even though these artists tackled the big questions, abstraction, tradition, innovation, what’s local and what’s universal, their work barely showed up in Western museums or big collections. And when it did, curators often treated it like anthropology, not as art with its own weight and story.
kó’s way of doing things flips that script. By showing Nigerian modernists at places like Frieze Masters, a fair that highlights important art made before 2000, the gallery makes a clear statement: these artists are part of the 20th-century art conversation. They’re not some side note labelled “African” or “non-Western”. Their work is truly unique. People judge it for its innovation, ideas, skill, and historical importance, but also for its deep roots in local culture.
This shift matters a lot. It builds the foundation for a real collection of Nigerian modern art. When heavy-hitters like MoMA, Tate, the High Museum, and Guggenheim buy these works through galleries like kó, it’s more than a sale; it’s validation. That kind of attention sparks more research, more shows, and serious conservation. The secondary market wakes up. Auction houses start to care, experts develop, and suddenly, there’s a whole ecosystem where before, there was almost nothing.
But it’s not just about money or markets. There’s a deeper cultural weight. For Nigerians and Africans everywhere, seeing their art treated with the same respect as European masters sends a message they’ve always believed: their cultures make world-class art that deserves to be seen and studied.
What Contemporary Voices Does kó Amplify?
kó isn’t just about the legends. The gallery brings a lot of energy from the contemporary side, too. Take Peju Alatise, for example. Her work spans sculpture, painting, installation, and poetry; she explores power, gender, and justice. Her “Sim and the Glass Birds” showed up at Frieze Sculpture 2022, right in the heart of London, a giant stage for her vision.
There’s more. Modupeola Fadugba, Mobolaji Ogunrosoye, Ozioma Onuzulike, and Nnenna Okore all work in different media, from collage to ceramics. They explore memory, identity, the environment, and the ways materials can change and transform. At The Armoury Show in New York, kó introduced Nsukka school artists such as Okore and Onuzulike to American collectors, placing contemporary Nigerian voices at the heart of the art world’s conversations.
kó’s regular spot at 1-54 The Contemporary African Art Fair connects them to the biggest international network for African and diaspora artists. At the same time, they keep a foot in the wider global scene, showing at Untitled Miami, Expo Chicago, Art X Lagos, and more.
On top of all that, kó stays close to new talent. Through more than thirty artist residencies organised by the Arthouse Foundation, they directly support emerging artists, helping them make new work, show it, and get noticed internationally. This isn’t just about selling art; it’s about investing in Nigeria’s creative future and making sure new voices have a real shot.
How Has kó Influenced Lagos’s Gallery Scene?
Lagos’s art scene looks completely different now than it did twenty years ago. Back then, artists had barely any commercial spaces. Now? Galleries are everywhere, giving professional support, putting on serious shows, connecting with collectors, and stepping out onto the international stage. Kó leads the way, showing how you can operate globally but still centred in Lagos.
Their choice of location says a lot. Ikoyi is one of Lagos’s most upscale neighbourhoods. Kó isn’t some makeshift spot; it’s a polished gallery, as sleek as anything you’d see in London or New York. Details matter: white walls, good lighting, thoughtful displays, and professional catalogues. All of it says, “Nigerian art deserves the best.”
By showing up at Art X Lagos, Nigeria’s top international art fair, kó keeps the local scene connected to the bigger art world. Their international wins, getting Nigerian artists into major museums, strong auction sales, and critical buzz all lift the whole Lagos gallery scene. Curators, collectors, and journalists from all over the world are suddenly interested in Lagos.
READ ALSO:
- Nollywood: Nigeria’s Cinematic Powerhouse Driving Tourism Growth
- The Best Festive Celebrations Across Northern Nigeria
- NIHOTOUR, NBS Partner to Accelerate Growth in Nigeria’s Tourism Sector
What Sets kó’s Curatorial Vision Apart?
kó isn’t just another gallery chasing sales. The place operates with a seriousness you usually find in museums. Every show comes with in-depth wall texts, thoughtful essays, and a strong sense of context and theme. Instead of just trying to sell art, the team actually does research and adds to conversations in art history.
With modern artists, Kó never leans on big names alone. Each exhibition builds a story, sometimes about a certain period, sometimes a theme or a technique, so people can really get to know the work. Their approach to contemporary art is just as careful; they skip the surface-level diversity talk and dig into real artistic lineages, debates, and questions. You don’t just see a mix of artists. You see where ideas come from, how they evolve, and what’s at stake.
This way of working makes Kó more than a dealer. When they discuss an artist’s impact or historical significance, they draw on knowledge and research. Collectors, curators, and critics notice. This is why individuals place their trust in the gallery’s statements; each assertion is backed by substance, reflecting a commitment beyond merely securing a sale.
Conclusion
Step inside Kó’s cosy Ikoyi space and you’ll feel it right away: exhibitions change, but the commitment to Nigerian art doesn’t budge. There’s Ben Enwonwu’s painting next to Peju Alatise’s sculpture, and Nike Davies-Okundaye’s textiles side by side with Mobolaji Ogunrosoye’s collages. It’s not a straight line through time but a lively conversation, artists talking to each other across generations about what Nigerian art means and how it connects local stories to bigger human questions.
Four years in, kó isn’t just another gallery in Lagos; it’s become a crucial part of the global African art scene, while staying rooted in its home city. Success at major international fairs hasn’t pulled the gallery away from Lagos. If anything, it’s put a spotlight on the richness of Nigerian art, proving it doesn’t need excuses or explanations, just the right platform and people who know what they’re talking about.
As Lagos’s art world continues to grow, and as international interest (hopefully) turns into something long-lasting, Kó’s way of doing things stands out. They set high standards, conduct rigorous research, build real relationships, and always focus on the art itself, which is complex, meaningful, and beautiful. When expertise and respect guide the process, heritage isn’t just something to show off. It becomes a real luxury. At Kó, this isn’t just a slogan. It’s an everyday reality.
Frequently Asked Questions
1. What is kó Gallery?
kó is a contemporary art gallery in Lagos, founded by Kavita Chellaram in 2020. The gallery champions Nigerian modern artists and celebrates contemporary talent from across Africa and the Diaspora.
2. Where is Kó Gallery?
You’ll find Kó at 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
3. What does “kó” mean?
In Yoruba, “kó” means “to gather” or “build.” The name reflects the gallery’s goal: building community and supporting creativity through contemporary art.
4. Who started kó Gallery?
Kavita Chellaram launched kó. She also founded the Arthouse Contemporary auction house in 2007 and the Arthouse Foundation artist residency in 2015.
5. What art fairs does Kó take part in?
Kó has shown work at Frieze Masters in London, The Armoury Show in New York, 1-54 Contemporary African Art Fair (Paris and New York), Art X Lagos, Untitled Art Miami, and Expo Chicago.
6. Which Nigerian modern artists has Kó shown?
The gallery has exhibited major figures like Ben Enwonwu, Obiora Udechukwu, Nike Davies-Okundaye, Yusuf Grillo, Bruce Onobrakpeya, and other trailblazers in Nigerian art.
7. Which contemporary artists does Kó represent?
kó showcases artists such as Peju Alatise, Modupeola Fadugba, Mobolaji Ogunrosoye, Ozioma Onuzulike, Nnenna Okore, and a range of other contemporary African artists.
8. Which institutions have acquired art through Kó?
Major museums, including MoMA, Tate, the High Museum of Art, and the Guggenheim, have acquired works by artists represented by kó Gallery.
