Gallery MOMO emerged in Johannesburg in 2003 under the vision of Monna Mokoena, who set out to create a platform for contemporary African voices that had been largely absent from the local market. Two decades later the space was honoured with the Outstanding Art Gallery prize at the National Arts Council Awards, a testament to its steadfast commitment rather than a chase for accolades.

Since 2015 the gallery has been steered by Odysseus Shirindza, a former fashion designer and advertiser. His dual‑track experience lets him negotiate the commercial realities of the art world while championing the artists’ narratives, keeping the programme both sustainable and artist‑centric.

A cornerstone of MOMO’s model is its residency programme, largely self‑funded but bolstered by partnerships with institutions such as the School of the Art Institute of Chicago and the Southern African Foundation for Contemporary Art. These residencies give emerging creators studio space, modest stipends and a direct line to the gallery’s two‑decade network, turning a solitary practice into a launchpad for exhibitions and sales.

The South African market has seen notable closures—Kalashnikov, Stevenson’s Johannesburg branch—yet MOMO has persisted by recalibrating its fair participation and embracing digital visibility without letting Instagram hype dictate its economics. The growing appetite among younger Black collectors and the global surge in interest for contemporary African art have provided fresh momentum, even as the gallery continues to educate both patrons and artists about the value of their narratives.

Looking ahead, MOMO is gearing up for FNB Art Joburg, a debut show in Atlanta, and a re‑imagining of its physical space to respond to the social‑media‑driven gallery model. The aim is simple: keep the platform alive for another decade, supporting artists and the community that sustains them.

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