Who painted Untitled?

Untitled was painted by Mona Hatoum in 1996.

Where can I see Untitled?

Untitled is held by Museum of Modern Art.

What movement is Untitled?

Untitled is associated with Contemporary Abstract.

Artwork

Untitled

Mona Hatoum , 1996

Untitled is an unspecified painting by the Contemporary Abstract artist Mona Hatoum. It dates from 1996 and is held in the collection of the Museum of Modern Art. Created in 1996, this work consists of human hair affixed to a cotton fabric base.

About this work

Overview

Created in 1996, this work consists of human hair affixed to a cotton fabric base. The material choice and arrangement produce a visual reference to a keffieh, the patterned scarf associated with Middle Eastern dress. The piece is classified as a painting within contemporary abstract practice and is part of the Museum of Modern Art’s collection.

Subject & Meaning

The composition evokes the iconic checkered pattern of a keffieh, linking the work to cultural symbols of identity and resistance. By substituting textile fibers with hair, the artist foregrounds bodily materiality, prompting reflection on the relationship between personal embodiment and collective cultural signifiers.

Technique & Style

Fine strands of human hair are meticulously sewn or adhered onto a stretched cotton surface, forming the alternating dark and light motifs characteristic of the keffieh design. The tactile contrast between the soft, organic hair and the plain fabric underscores a minimalist aesthetic while retaining a strong visual impact through pattern repetition.

History & Provenance

The piece was produced by British‑Palestinian artist Mona Hatoum in the mid‑1990s, a period marked by her exploration of materiality and displacement. It entered the Museum of Modern Art’s holdings shortly after its creation, where it remains on display as part of the institution’s contemporary art holdings.

Context

Hatoum’s practice frequently engages with themes of exile, the body, and geopolitical conflict. This work aligns with her broader use of everyday materials—such as hair, glass, and metal—to interrogate personal and political narratives, situating the piece within late‑20th‑century discourses on identity and representation.