Adora Mba’s ADA Contemporary is reimagining the Art Scene : From Accra to the World
There is an elegance and natural poise in the words of Adora Mba, founder of ADA contemporary art gallery. With passion and boldness, the once journalist turned art dealer founded the gallery after years of dedication and commitment to supporting artists from Ghana and Africa. Fast forward 5 years later, ADA contemporary art gallery, has become a safe haven for artists and Accra’s art life. Carried by a strong vision, hard work and a passion for people, Adora is all about legacy and meaningful impact. Through her journey, the trailblazer made sure to hold special space for underrepresented artists but also women in the arts. In this interview, Adora Mba shares her exceptional journey as Ghana’s leading female global gallerist. She discusses the challenges she faces—tough realities—but insists the journey is worth it.
Adora Mba, ADA Contemporary
In this intervew Adora Mba shares her unique journey, lessons and victories building ADA contemporary art gallery and as she is now introducing its new border-less chapter : ADA Contemporary.
Ngalula MAFWATA : How has your initiation to art debuted ?
Adora Mba : I grew up in Nigeria, in a house filled with art as my parents loved art and were collectors. They would host art exhibitions with their friends in our home. I can say that early on, art was intertwined with me. As a matter of fact I wanted to be an artist however knowing West African parents Art can only be a hobby and not a job [laughs]. Later on though, I ended up always being within cultural spaces. In the early 2010’s, I was first a cultural journalist in London, focusing on Black and African artists for a few media outlets including BBC Africa, the Economist and evolved into a PR for American and British artists. I would fill my quiet moments going to art exhibitions, previews or visit museums on the weekends. This was something that would come naturally to me, I just love art.
Ngalula MAFWATA : When did the shift towards building a business happen for you?
Adora Mba : Naturally, I started growing a network of artists by visiting their studios, writing about them. This is how The Afropolitan Collector was born, on which I would publish any of the content recorded that would not make the cut on the publications I was working with. Little did I know that a lot of people would respond to it. African art was my normal however I had not realised that this was something new for people. In London, many people didn’t know where to find African art, let alone how to buy or sell it—which felt unbelievable to me ! Soon, people started asking for my help in buying and selling works, knowing I had a strong network across institutions, museums, galleries, and artists. This is how I became an art dealer. I left journalism behind and spent the next seven years fully focused on art dealing. My clients were predominantly African collectors who needed access to galleries in cities like New York, London, Paris, and beyond.
By the time the boom in African contemporary art took off, I had already moved back to Ghana as my business had me constantly traveling between Europe and key African art capitals : Lagos, Accra, Dakar, Cape Town. Relocating made sense. I chose Accra because I was always intrigued that, despite the abundance of talented artists, Ghana lacked the international exposure enjoyed by countries like Nigeria, which already had a well-established art market and ecosystem. Ghanaian artists often had to travel to Nigeria, South Africa, or European cities in order to make it, due to the lack of local spaces of diffusion. At the time, 1957 Gallery and the Nubuke Foundation were the only notable spaces. There were some smaller, locally focused galleries, but nothing that operated on an international scale.
Ngalula MAFWATA : How then did the gallery started ?
Adora Mba : I realised that, organically, I had built a unique ecosystem. I had direct access to artists, galleries, art fairs, and collectors. My background in press and PR gave me an understanding of what journalists look for, while my close work as an art dealer taught me what kind of art truly resonates with collectors. Somewhere along the way, it just clicked, I had everything I needed. So I told myself: let’s actually do this. I was already ADA. It’s both a blessing and a curse at times, but ultimately, I am what I do. It’s not a job; it’s just me being myself. I feel incredibly blessed, many people long for that kind of alignment.
It took time, but it was Divine Timing, all I needed was the space. During Covid, I was searching without success. Then, at my cousin’s birthday dinner, I met with one of the owners of Villagio Properties Estate who heard about my frustration in looking for a place. Towards the end of the evening she suddenly said, “What about here?” The estate had a sky-bar, cafes, heavy foot traffic, luxury developments, and was open to locals. A day or two later, she came back and asked if we should go for it. I remember wanting to build with impact not just for the sake of building. I wanted Ghanaians to enjoy the white cube experience—an elevated, world-class art experience the same way we do in London, Paris, and beyond. It was a question of right time, right place. Covid turned out to be helpful, it gave me the time and space to shape the kind of program I envisioned. I was not in a rush, over nine months, I spoke with artists, defined our approach, built the team, and we opened in October 2020.
Deborah Segun, courtesy of ADA Contemporary
Ngalula MAFWATA : Speaking of Covid, we can say the year 2020 and onwards were a golden era for contemporary art, how did you navigate it ?
Adora Mba : While Covid was a hindrance for many industries, the art world thrived. With people stuck at home, staring at their walls, art became a priority—and not just African contemporary art. It was a busy time. I was constantly in touch with artists and collectors from around the world. I’ve always felt lucky. Even based in Ghana—where there are often stereotypes about what’s possible from the West— when in reality about 90% of my clients are international. Still, I’m focused on growing a stronger local collector base. I have built the gallery more for Ghanians with the purpose of getting people used to walk in the space and be inspired by the experience.
Ngalula MAFWATA : Tells us more about what you have observed about the Ghanaian scene ?
Adora Mba : Ghana’s art community has been growing steadily. Since Covid, many artists returned home and set up studios, residencies, and spaces—or joined forces to form collectives. There are more art spaces opening up. Accra has truly become an art hub. The number of visitors we've welcomed from major global institutions speaks for itself. Many had never been to Africa before—and yet they came to ADA. The Serpentine, TATE Modern, LVMH Foundation, Centre Pompidou, V&A, MoMA,… and I hope it’s only the beginning.
Ngalula MAFWATA : What are some challenges faced by the gallery ?
Adora Mba : Ghana used to have two major art universities, one of which closed down due to lack of government fundings. Sadly, the cultural, social, and economic value of art is often overlooked. When the Ministry of Culture removed creative classes from primary schools, my team launched a program in response, we reached out to schools of the city. We reached out to local schools, and now we host monthly workshops at the gallery for students. We also partner with charities supporting displaced children, offering them studio visits and hands-on experiences. I'm especially proud of this initiative, it's about giving back and creating lasting impact. Young kids engaging with art, seeing faces that look like theirs on our walls, and realising these works are made by Africans. It can spark inspiration and shape future artists.
“Ghana’s art community has been growing steadily. Since Covid, many artists returned home and set up studios, residencies, and spaces—or joined forces to form collectives. There are more art spaces opening up. Accra has truly become an art hub.”
Ngalula MAFWATA : Your past curations have been bold and visually striking, often spotlighting early-career artists. How do you engage with them and introduce them to your world?
Adora Mba : It has been a few things. I do have friends and trusted eyes on the ground who recommend artists. When someone tells me, “You need to take a look at this artist,” I listen. Occasionally, it's a 3 AM Instagram scroll…but that’s rare. We also receive a lot of portfolios. For me, it is mostly about intuition, paired with input from collectors and curators I trust… and sometimes, just the unexpected discovery. Zandile Tshabalala was introduced by a collector for example while she was completing her final year of school. I have deliberately focused on early-career artists. Discovery has always come naturally to me, and bringing new talent to the market is something I genuinely enjoy and is fun to me. From a business perspective, of course it might seem risky—working with more established and advanced artists would be more profitable. However I am drawn to finding new forms of artistry and the challenge of introducing them to collectors. Many young artists in our region are self-taught—there simply aren’t enough art schools. So as a gallery, we end up doing much more than just exhibiting their work. We guide and educate them, helping them understand how to navigate the global art system, not just the African one.
‘The Sound of Our Souls’ group exhibition. Courtesy of ADA Contemporary
Ngalula MAFWATA : Alongside focusing on early-career artists, you have decided to support women more intentionally this year, what sparked the decision ?
Adora Mba : I just felt women were exploring different things : their craft, their practice were so unique. Just taking as an exemple our last show The Alchemy of Colours and Matter, not a single work has been remotely close to another artist’s work. Each explored different narratives and techniques.
As I reflected on the past five years, I made a conscious decision to dedicate this program to women—especially Black and African female artists who stand on their own, incomparable to any others in the world. Funnily enough, they are also proving to be the strongest economically right now. Beyond working with artists, I’m also collaborating with female curators because I genuinely wanted to create something meaningful for them. The men artists got it. It is not that I don’t support any other artists and they understood it. This was the opportunity to profile something different and strong. This was about taking risks, being bold, and shining a spotlight on my own community.
Ngalula MAFWATA : How when it comes to your journey as a woman founder ?
Adora Mba : I definitely deal with some imposter syndrome. [laughs]. and I can be quite shy compared to the voice and persona I project through my work. This journey has been incredibly hard, lonely. What I have found is that it’s already hard to be a woman, and even harder to be a Black woman in the West, despite having grown up in London and having certain privileges. But what’s most shocking and painful in this industry is that the lack of support often comes from within our own communities. It is us. Proven track record of excellence is consistently demanded by female entrepreneurs, consistently. In my own experience, I have found that men - not to make it about genders - are a lot more supported. They don’t necessary need to have a business plan nor to prove that they are good in business to the same extent. I have seen it with my eyes. Here, on the continent, as a woman you have to prove that you are excellent, not just good, but excellent, and all the time. I have built this gallery on my own, without investors. While I have enjoyed the challenge, I wouldn’t necessarily recommend it. I always tell people who ask me : find a business partner.
“As a woman you have to prove that you are excellent, not just good, but excellent, and all the time. I have built this gallery on my own, without investors. While I have enjoyed the challenge, I wouldn’t necessarily recommend it. I always tell people who ask me : find a business partner.”
Adora Mba
Ngalula MAFWATA : What are some of the biggest challenges you've faced in building and sustaining the gallery ?
Adora Mba : I do find we lack financial support in the business sense. Despite the press, the sales, and the recognition that we are a global force not just in Ghana, I have not received local support when I have asked which is incremental to expand and grow the business. We do not have art grants and funds compared to the UK for example, this is a different reality. In many parts of Africa, we’re still fighting for the basics, so art can be seen as a luxury. But what we do goes far beyond selling paintings. Many of these artists are young, often coming from economically challenged backgrounds. This is about people. Despite the lack of government support, I must say Ghana’s art industry is growing, and we are doing it ourselves, together. If they can’t see that we’re bringing some of the world’s biggest collectors and most prominent curators to Ghana, it’s truly sad. It feels very unfair. I love what I do, and I’ll keep fighting for it.
‘Between The Dog and The Wolf’ by Cece Philips. Courtesy of ADA Contemporary
Ngalula MAFWATA : How do you see your role and those in the creative industries and its impact on society ?
Adora Mba : The entrepreneurial path is a lonely one. I was the first female gallerist in Ghana with a commercial space like mine operating at a global scale. It was a completely new concept at the time and I’m proud to have played an instrumental role in that shift.
I really wish we had more institutional and government support—like in Dakar, Senegal—because something important is being overlooked here. It’s incredible how much talent exists across industries—music, film, art—yet so much of it is sidelined, despite these creatives contributing meaningfully to the country’s economic and social progress. Ghanaians are naturally creative. We are the original singers, beaders, sculptors, textile artists, and painters. It’s in our DNA—clay pots, kente, raffia, gold. And yet, I find it strange that our country, often referred to as The Gateway of Africa, doesn’t fully celebrate or invest in its millions of incredible creatives.Through it all, I’ve been deeply grateful for my support system—my family, chosen family, and friends who’ve stood by me on a personal level.
“There is a misconception about our job being easy. I do know it may appear easy and glamorous, it is not. I often speak about the support system it takes, and I’ve seen the younger generation already embracing collaboration. I also try to be honest about what it means to be a female founder—not just in Africa, but in global settings. It is not easy but it is so worth it. ”
Ngalula MAFWATA : How do you navigate work-life balance ?
Adora Mba : I have come to realise that I want certain things for myself. For years, my life has revolved entirely around the gallery—my identity was completely tied to it. I’ve never been great at work-life balance, but since last year, I’ve started learning to take breaks and trust my team to manage things. It’s been a necessary shift. There are so many younger female art entrepreneurs and I have been very honest with them about the realities of the journey. This next generation is filled with many incredible female curators, writers, gallerists next gen young women that want to do this and I have been very honest with them about what it entails. There is a misconception about our job being easy. I do know it may appear easy and glamorous, it is not. I often speak about the support system it takes, and I’ve seen the younger generation already embracing collaboration. I also try to be honest about what it means to be a female founder—not just in Africa, but in global settings. It is not easy but it is so worth it. I always tell them—it’s not going to be easy. But if you truly love it, go for it.
“I believe great art will always endure and find its audience. No matter what’s happening in the world, people will always be drawn to beauty. So, I try not to panic too much.”
Ngalula MAFWATA : What are some trends you have noticed on the market lately ?
Adora Mba : I am not a fan of the word trends. But in terms of what the market seems to be gravitating toward, mixed media is definitely one of them. It feels like a natural evolution after the wave of Black portraiture and figurative work. Now, we’re seeing more abstraction and expressionism coming through. I love that we are using our hands again building sculptures, making textiles, I am obsessed by ceramics, it makes art more fun again. I have also noticed miniature works. We went from wanting the biggest paintings in the world but now a lot of artists are paining tiny and intimate paintings. I have studied art, I can say with confidence—it’s often more difficult to paint on a smaller scale. You have to really control your technique, whereas large canvases allow more freedom and gesture. This shift feels more personal, almost like you are peeping into something private. And it’s not just happening here, I’ve seen it across the Americas and Europe as well. This is also a reflection of current economics though, I believe great art will always endure and find its audience. No matter what’s happening in the world, people will always be drawn to beauty. So, I try not to panic too much.
Hue 1, Roisin Jones (2025) 15.2 x 15.2 cm
Ngalula MAFWATA : What’s next ?
Adora Mba : Following The Alchemy of Colours and Matter, we have been focusing on looking at artworks we do have at the gallery in storage in order to curate in a meaningful way. I have also been taking a step back, focusing more on the business while my team is handling the operations. What is next, we continue our program with women. Looking back it feels that the gallery has evolved, just as my purpose has continuously grown and shifted.In the coming months, my team will change as well, with some members pursuing new avenues. As a leader, this fills me with pride. My love for and commitment to the arts remains unwavering; it’s where my purpose is deeply rooted, and it never feels like work. But for me, the focus has shifted. It’s no longer about the commercial side of art—it’s about support, residency programs, building strong foundations, and philanthropy. There is a wind of change.
Find out more about ADA Contemporary and their website .
