Keith Piper (born 1960) is a British artist, curator, critic and academic. He was a founder member of the groundbreaking BLK Art Group, an association of black British art students, mostly based in the West Midlands region of the UK.

Piper was born in the Crown Colony of Malta to a working-class family of African-Caribbean heritage: his father, originally from Antigua, had gone to England in the 1950s, settled in Birmingham in the West Midlands, and been posted on Malta's military base just before Piper's birth. Six months old when he arrived in Britain, Piper was raised in and around Birmingham. He was first attracted to art as a response to the industrialised, decaying landscape of his youth. Quoted in his monograph Relocating the Remains (1997), he recalls being "interested in the aesthetics of peeling paint, rust and dereliction and the multi-layered look of fly posters when they become torn off". Piper went on to attend Trent Polytechnic, where he gained his B.A.(Hons) degree in Fine Art in 1983, before graduating with a master's degree in Environmental Media at the Royal College of Art in London.

Although Piper’s early and student work made use of traditional fine art media such as paint and canvas (as in The Body Politic, 1983), from the late 1980s he became primarily associated with technically innovative work that explored multi-media elements such as computer software, websites, tape/slide, sound and video within an installation-based practice.

Piper first came to public attention when, in 1982, while still a student, he joined Eddie Chambers, the late Donald Rodney and Marlene Smith in what came to be known as the BLK Art Group. Their politically forthright exhibition The Pan-Afrikan Connection garnered media attention as it toured to Trent Polytechnic in Nottingham; King Street Gallery in Bristol; and The Africa Centre in London. In 1983-84 a second touring exhibition, The BLK Art Group, was held at the Herbert Art Gallery in Coventry, Battersea Arts Centre in London and, again, the Africa Centre.

However, the group's critique of institutional racism in and beyond Britain's art world became a part of the impetus that led to The Other Story, a seminal survey of African and Asian artists at London's Hayward Gallery in 1989 as well as the founding of the Association of Black Photographers and the establishment of Iniva, the Institute of International Visual Arts – some of which have exhibited Piper's work. His photography was recognised in the 1992 survey by Ten.8 magazine.

Piper continued to practise throughout the 1990s, 2000s and 2010s, exhibiting work in prestigious galleries and museums around the world, including, in 1999, the New Museum of Contemporary Art in New York, in 2007, the Victoria and Albert Museum, and, in 2012, Migrations at Tate Britain. In 1998, Piper, along with Ramona Ramlochand collaborated on an exhibition called The Night Has A Thousand Eyes at the Ottawa Art Gallery. It included a collaborative installation between the two as well as their own separate ones.

Examples of Piper's work are held in numerous public collections, including the Arts Council Collection Tate and the Manchester Art Gallery. His 'Untitled' (1986) painting acquired by Manchester Art Gallery was re-interpreted in 2022 for display as a central work in their Climate Justice Gallery.

In 2002, Keith Piper was awarded an honorary Doctorate of Arts at Wolverhampton University and has taught for several years as a Reader in Fine Art at London's Middlesex University.