Things to do in Miami: Progressive Art Brunch Feb 22, 2026
Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
Progressive Art Brunch brings together participating galleries several Sundays throughout the year.
The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
The galleries are located in the Performing Arts, Little Haiti and Little River Arts Districts.
Art Miami Magazine: We’ve created a curated route to make your Progressive Art Brunch experience seamless and efficient. This optimized path minimizes travel time and groups galleries by proximity, allowing for an easy and enjoyable art crawl. The route can be followed from south to north or reversed from north to south, depending on your starting point.
PARADA 1 – Downtown / Omni
Ascaso Gallery 1325 NE 1st Ave, Miami, FL 33132
Fredric Snitzer Gallery 1540 NE Miami Ct, Miami, FL 33132
PARADA 2 – NW 22nd Street Cluster (Wynwood / Allapattah)
Andrew Reed Gallery 800 NW 22nd St, Miami, FL 33127
Top Things to Do in Miami for Art Lovers: Best Exhibitions Saturday, February 21 2026
Looking for the best things to do in Miami? If you’re an art enthusiast, you’re in the right place. Miami’s vibrant art scene offers world-class exhibitions, cutting-edge galleries, and immersive cultural experiences that rival any global art capital. This comprehensive guide highlights the top art exhibitions and must-visit galleries that should be on every art lover’s Miami itinerary.
SAVE THE DADE
Saturday, February 21
A Full-Day Art Guide Across South Florida
From museum openings and public art tours to gallery receptions, lectures, festivals, and community gatherings, Saturday, February 21 activates the entire South Florida cultural landscape. Plan your route — it’s a marathon of art.
Coral Way
Zapata Gallery | Opening Exhibition
La infinita medida de los sueños Group exhibition from the Luciano Méndez Collection of Contemporary Cuban Art, curated by Dannys Montes de Oca. 7 PM 1333 SW 22nd St, Miami, FL 33145
Cutler Bay
The Moss Center | Community Event
Reuse-A-Palooza A free celebration of creativity and sustainability presented by The Things Lab and Debris Free Oceans. 12–4 PM 10950 SW 211 St, Cutler Bay, FL 33189
Doral / Miami Springs / Medley
MIFA | Art Talk
Ediciones Experimentales Conversation with Nicolás Gerardi in collaboration with NF Art & Design. 11 AM 5900 NW 74th Ave, Miami, FL 33166
Hollywood
The Center for the Arts at Hollywood
Center Salon Exhibition + Art Auction Fundraising exhibition featuring 57 South Florida artists. 5–8 PM 1650 Harrison St, Hollywood, FL 33020
Little River
Simetría doméstica Space
Mini Fair + Visual Art Runway + Works from Back Room Curated by Estefanía Papescu, including artist books and a 6 PM runway presentation. 2–6 PM 224 NW 71st St, Miami, FL 33150
Little River
Mahara+Co | Opening Reception
In Practice Featuring Nicole Burko, Matthew Forehand, Lisa Gomez, Gonzalo Hernandez, Crystal Pearl Molinary, Pedro Sena, Corinne Bernard. 6–8 PM 224 NW 71st St, Miami, FL 33150
Miami Gardens
Favalora Museum | Opening Reception
The Paths of the Pilgrim — Emilio Hector Rodriguez When Dreams Become Reality — Ramon Carulla 2–5 PM 16401 NW 37th Ave, Miami Gardens, FL 33054
North Miami
The Camp Gallery | Closing Reception
Vision/Version — Pablo Power Live poetry by Pop Up Poetry MIA + craft cocktails. 3–6 PM 791 NE 125 St, North Miami, FL 33161
Pinecrest Gardens
Chandelier Gallery | Panel Discussion
Bridging the Gap: From Studio Practice to Public Art Conversation with Patricia Romeu, Indra Alam and participating artists. 11:30 AM – 1:30 PM
11000 Red Rd, Pinecrest, FL 33156
Westchester
Patricia & Phillip Frost Art Museum FIU
David C. Driskell & Friends: Creativity, Collaboration, and Friendship Exploring African American art and community legacy. Live jazz by Black Nimbus. 1–3 PM 10975 SW 17th St, Miami, FL 33199
South Miami
SOMI Art Fest — 41st Annual Festival
Over 100 artists, live music, and community celebration along Sunset Drive. 10 AM – 6 PM
Coral Gables
Sardinas Gallery
Andrea Huffman: Boundless Palace Revisited Fiber works inspired by Florida’s environment. 2 PM
Hialeah
Milander Center for Arts & Entertainment
José Martí Art Exhibit — Final Day Last chance to view this exhibition.
Miami Beach
The Bass Museum of Art
Breakfast at The Bass Meet Associate Curator Jasa McKenzie. 10:30 AM – 12 PM 2100 Collins Ave, Miami Beach
Downtown Miami
Pérez Art Museum Miami (PAMM)
Professional Learning: Extra-Ordinary Objects Workshop inspired by Woody De Othello: coming forth by day. 9 AM – 4 PM 1103 Biscayne Blvd, Miami
Miami Beach
The Official Art Deco Walking Tour
Presented by the Miami Design Preservation League. 10:30 AM – 12:30 PM 1001 Ocean Drive, Miami Beach
Miami Design District
Public Art Tour
Explore art and architecture across the district. 11 AM – 12 PM Palm Court, 140 NE 39th St, Miami
Fort Lauderdale
NSU Art Museum
Dr. Rocky Ruggiero Lecture: Imagery and Meaning in Italian Renaissance Painting 3–4 PM
Jason Galbut’s large-scale works approach painting through a materially grounded yet seemingly incoherent logic. His practice registers both painting’s past and present, constructing surfaces through deliberate, methodical processes while navigating a maze of contradictions and uncertainties.
Tension Between Structure and Perception
Across the four works presented in the exhibition, Galbut establishes a dynamic tension between material rigor and perceptual ambiguity. Intricate surfaces—resolute in their deployment—conceal earlier decisions that remain partially visible. This layering reflects what might be called decisive uncertainty: a condition mirrored in procedural contradictions such as order and cacophony, precision and excess, vast scale and detailed gesture.
Through this push and pull between methodical construction and disjunctive process, the works resist linear engagement. They are not paintings to be “read” sequentially, but to be experienced as fields of accumulated decisions.
Procedure vs. Lived Experience
Galbut’s paintings unfold through deliberative procedure and embodied perception, holding structural clarity in tension with Maurice Merleau-Ponty’s assertion: “The world is not what I think, but what I live through.”
In Galbut’s work, procedure does not resolve into lived experience, nor does embodiment resolve into structure. Instead, each complicates the other. Confident procedural action, sustained labor, and elaborate construction anchor the work physically, yet the perceptual field remains indeterminate. The paintings are stable objects that resist stable meaning.
“Painting Beside Itself”
David Joselit’s concept of “painting beside itself”—where meaning unfolds through networks extending beyond the canvas—is folded back into the picture plane in Ivy. Rather than projecting outward into social or institutional systems, Galbut internalizes these networks through material and structural interdependencies.
Multiple discrete components negotiate with one another to form a unified structure, signaling a drive toward cohesion. Yet while Galbut’s procedures physically reinforce the work’s fractured fragility, its internal networks invite engagement without demanding full deciphering.
Ivy raises epistemological questions not only through depiction, but through presence: What is this? Why is it here? What is it doing?
Meaning emerges through accumulated material decisions—construction, revision, fastening, layering—rather than through symbolic narrative.
Couture, The Grid, and Material Rebellion
In works such as Parade, Season, and Medal, the body is implied precisely through its absence. These paintings become visually electrified costume dramas, with structure functioning like tailoring—shaping and containing expressive gestures radiating with color, texture, and materiality.
Parade features brightly colored straps harnessed around a reflective platinum-leaf grid, evoking Alexander McQueen’s metallic couture. Here, the grid—once a reductive modernist device—becomes a site of affect and material rebellion.
Season, composed of yellow, red, and orange painted straps intersected by diagonal 24-karat gold leaf, conjures opulence and theatrical transformation.
Medal, with interlocking pink and blue straps laid over gold leaf, pushes couture into gilded excess.
Unlike early modernist grids that aimed for purity and self-reflexivity, Galbut re-coutures the grid as a tactile, emotional field. These strategies foreground the felt dimension of experience, emphasizing both the embodied impulse behind the work and the persistent gap between language and painting.
Knowledge Without Resolution
Galbut’s one-word titles project certainty and confidence—mirroring the boldness of his material processes. Yet despite meticulous construction, the paintings remain elusive.
T. S. Eliot’s question—“Where is the knowledge we have lost in information?”—echoes through these works. Their material logic accumulates without resolving, layering sense until synthesis becomes impossible. Knowledge does not arrive at clarity; it expands only to reveal its own limits.
Painting as Slow Presence
In an era defined by the erosion of physical contact, Galbut’s insistence on material engagement resonates deeply. The care and precision embedded in each work reflect a striving for resolution amid human turbulence.
Though demanding to make, these paintings do not demand from the viewer. They embody an understanding that painting is a slow medium—one that does not need to be fully understood to be fully experienced.
255 NE 69th Street Unit D
Miami, Florida 33138
+786-566-0542 [email protected]
As we celebrate opa project‘s 1st anniversary, we are delighted to invite you to a private cocktail event for the opening of OPEN WORLD, NO SAVE POINT by Tess Dumon.
With Open World, No Save Point, opa presents the first solo exhibition in Miami by Paris-based artist Tess Dumon. Her paintings unfold as suspended environments where dream, memory, and decision quietly converge, proposing not escape but orientation within an uncertain present.
Opa projects brings together artists with distinct approaches to question our perception of the everyday and the ability of art to transcend the obvious.
Private Opening Reception: Thursday, February 19, 2026 | 6-9 PM
Exhibition dates: February 19 – March 28, 2026 Location: opa projects, 7622 NE 4th Ct, 33138 Miami
opa projects is proud to present Open World, No Save Point. For this solo exhibition, Tess Dumon presents a new series of paintings that borrow the language of video games—open worlds, portals, checkpoints—to create poetic, immersive landscapes. Her universe is quiet, nocturnal, and charged with magic. Horizons glow, paths appear, reflections open into other states of reality. Each image feels like a moment just before something happens.
Dumon’s figures do not chase victory. They pause, drift, cross. They inhabit fragile spaces where direction matters more than destination. The paintings offer a rare experience: slowing down, paying attention, and allowing mystery to remain.
Presented by Opa in Miami, Open World, No Save Point resonates with a city shaped by movement and reinvention. It proposes a different kind of progress—gentle, intuitive, and deeply poetic—where there are no shortcuts, no resets, only the beauty of moving forward.
El Museo Americano de la Diáspora Cubana (MADC) y la Fundación para los Derechos Humanos en Cuba (FHRC) presentan oficialmente la “Baraja Castrista”, un juego de naipes que expone a las figuras clave que sostienen la estructura del régimen en La Habana. ¿Quién es quién dentro de la cúpula gobernante?
La baraja reúne a 56 nombres —rostros, cargos y trayectorias— de quienes hoy ocupan posiciones determinantes en la toma de decisiones del aparato estatal o integran el círculo íntimo de la familia de Raúl Castro. Entre las cartas figuran los principales jefes militares y responsables de los órganos represivos y de seguridad adscritos al Ministerio del Interior y a las Fuerzas Armadas.
“Nunca se había realizado un trabajo tan completo sobre el liderazgo del régimen castrista. Esta investigación llega en un momento crucial, cuando Cuba está más cerca que nunca de un cambio democrático tras sesenta y siete años de dictadura”, afirmó Marcell Felipe, presidente del Museo Americano de la Diáspora Cubana.
Por su parte, Tony Costa, presidente de la Fundación para los Derechos Humanos en Cuba, subrayó el sentido histórico del proyecto: “Una Cuba libre se construirá sobre la verdad, la justicia y la dignidad de su pueblo. Bajo esa premisa nació la iniciativa de esta baraja’.
Miguel Cossío, director ejecutivo del MADC y autor del proyecto, destacó que la “Baraja Castrista” constituye además una herramienta muy útil para agencias del gobierno de Estados Unidos interesadas en comprender con mayor precisión la arquitectura del poder en la isla.
Los investigadores de la FHRC, Luis Domínguez y Rolando Cartaya, explicaron que el estudio fue más allá de los cargos oficiales. “Al analizar a estos miembros de la nomenclatura cubana, logramos reconstruir árboles genealógicos, identificar vínculos familiares, fechas de nacimiento y otros datos relevantes que permiten entender cómo opera realmente el círculo de poder.
La “Baraja Castrista” ya está disponible para su difusión pública.
American Museum of the Cuban Diaspora
305.529.5400
thecuban.org
1200 Coral Wy, Miami, FL 33145
El nacimiento de la tragedia Nietzsche y Jackson Pollock-entre lo apolíneo y lo dionisíaco
El nacimiento de la tragedia (Nietzsche) + Jackson Pollock
Cuando el arte deja de “representar” y empieza a suceder
Entre 1872 y los años 40–50 del siglo XX hay un puente inesperado: Nietzsche piensa la tragedia griega como una fusión de fuerzas opuestas (lo apolíneo y lo dionisíaco), y Pollock convierte la pintura en un acontecimiento físico donde el cuerpo toma el mando. Juntos, iluminan una pregunta que sigue vigente: ¿cómo dar forma a la intensidad sin domesticarla?
1) Nietzsche: la primera gran obra filosófica como manifiesto estético
El nacimiento de la tragedia (1872) no se presenta como una filosofía “seca”, sino como una apuesta: la cultura se comprende mejor desde el arte. El libro vuelve a la tragedia griega para explicar cómo una civilización puede mirar el dolor de frente sin convertirlo en simple moraleja.
El núcleo conceptual es famoso por una razón: Nietzsche distingue dos “impulsos artísticos” o art drives:
Lo apolíneo: medida, claridad, armonía, contención.
Lo dionisíaco: exceso, arrebato, música, embriaguez, disolución momentánea del yo.
La tragedia surge cuando ambos no se cancelan, sino que se funden: forma suficiente para contener el vértigo, y vértigo suficiente para que la forma no sea una jaula. Esta lectura (fusión apolíneo/dionisíaco) es central en resúmenes de referencia como Britannica. Encyclopedia Britannica+1 La Stanford Encyclopedia of Philosophy también subraya la relevancia de esta distinción en la estética nietzscheana. Stanford Encyclopedia of Philosophy
Pull quote (para destacar): “La tragedia no ‘elige’ entre forma y éxtasis: las obliga a convivir.”
2) El “enemigo” de la tragedia: el optimismo racional
Nietzsche no critica la razón por existir, sino por convertirse en dogma cultural: cuando la vida exige explicación total, el misterio queda prohibido. En esa lógica, el “optimismo” socrático —la fe en que todo puede justificarse y aclararse— termina por secar el terreno donde la tragedia respiraba. Britannica resume este diagnóstico de forma directa: el racionalismo socrático y su optimismo habrían “matado” la tragedia griega. Encyclopedia Britannica
Aquí aparece una idea clave para leer a Pollock: Nietzsche no pide oscuridad por capricho; pide un arte capaz de hospedar lo que la claridad sola no alcanza.
3) Pollock: el cuadro como campo de acción
Con Pollock, la pintura deja de ser “imagen” para volverse situación. El MoMA describe su método de manera concreta: colocar el lienzo en el suelo y verter, gotear y salpicar esmalte, a veces directamente desde el recipiente o con palos/utensilios. The Museum of Modern Art+1
Este dato técnico importa porque redefine el papel del artista: no pinta “desde fuera” del cuadro, sino dentro de su órbita, alrededor, encima, a escala corporal.
Pull quote: “En Pollock, la composición no se dibuja: se negocia con el cuerpo.”
4) Rosenberg y el nombre del fenómeno: action painting
El crítico Harold Rosenberg captó algo decisivo: en esta pintura, lo central no es sólo el resultado, sino el acto mismo de hacerlo. El Tate lo sintetiza con una frase histórica: el término “action painting” fue acuñado por Rosenberg en su artículo “The American Action Painters”, publicado en ARTnews en diciembre de 1952. Tate
Este encuadre crítico no convierte el lienzo en “teatro” por metáfora: describe una transformación real del estatuto del cuadro. Ya no es una ventana; es un lugar donde algo ocurre.
5) Nietzsche x Pollock: Dioniso no es caos; Apolo no es frialdad
La lectura rápida diría: Pollock = dionisíaco (derrame, trance, energía). Pero Nietzsche nunca definió lo dionisíaco como simple desorden. Lo dionisíaco es potencia, desborde, música interna—y justamente por eso necesita un contrapunto: algún tipo de forma.
En Pollock, esa “forma” no es clásica ni geométrica, pero existe como:
ritmo (densidades y pausas),
capas (tiempo acumulado),
trayectorias (cruces, nudos, respiraciones),
escala (el lienzo como entorno).
Ahí está el punto nietzscheano más fértil: el cuadro funciona como una tragedia abstracta donde el exceso no se moraliza ni se explica; se organiza sin perder su filo.
Caja editorial AMM: 5 ideas clave para el lector
La tragedia nace de una fusión (Apolo + Dioniso), no de un “equilibrio” tibio. Encyclopedia Britannica+1
Pollock convierte el proceso en parte del significado: el lienzo en el suelo, el goteo, el cuerpo como herramienta. The Museum of Modern Art+1
Rosenberg pone nombre a esa mutación: action painting. Tate
Leer a Pollock con Nietzsche no es “ilustrar” filosofía: es entender cómo el arte moderno reabre el problema trágico (forma vs. fuerza).
En síntesis
Nietzsche buscaba un arte que no mintiera con serenidad falsa: un arte capaz de mirar el abismo y, aun así, producir forma. Pollock, desde otro siglo, propone algo similar sin palabras: una pintura donde la forma nace del riesgo, y el riesgo no se disculpa—se vuelve método.
Si quieres, lo maqueto aún más “revista” para Art Miami Magazine:
versión corta (900–1,100 palabras) para web,
versión larga (1,800–2,400) con subtítulos más breves, pull quotes extras y una caja final de “Lecturas recomendadas” (SEP, Britannica, MoMA, Tate).
The eighty-second edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features work of 56 artists, duos, and collectives that reflects the current moment and examines various forms of relationality, including interspecies kinships, familial relations, geopolitical entanglements, technological affinities, shared mythologies, and infrastructural supports.
Whitney Biennial 2026 offers a vivid atmospheric survey of contemporary American art shaped by a moment of profound transition. Rather than offering a definitive answer to life today, this Whitney Biennial foregrounds mood and texture, inviting visitors into environments that evoke tension, tenderness, humor, and unease. Together, the works capture the complexity of the present and propose imaginative, unruly, and unexpected forms of coexistence.
Whitney Biennial 2026 is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.
Leadership support for the 2026 Whitney Biennial is provided by David Cancel, and Stephanie March and Dan Benton.
Major support is provided by the Adam D. Weinberg Artists First Fund; Marcia Dunn and Jonathan Sobel; The Holly Peterson Foundation; the Kapadia Equity Fund; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; and the Whitney’s National Committee.
Significant support is provided by Sotheby’s.
2026 Biennial Committee Co-Chairs: Sarah Arison, Paul Arnhold and Wes Gordon, Suzanne and Bob Cochran, Salvador Espinoza and Jonathan Rozoff, Amanda and Glenn Fuhrman, Further Forward Foundation, Becky Gochman, Christina Hribar, Stephanie and Tim Ingrassia, Peter H. Kahng, Deepa Kumaraiah and Sean Dempsey, Miyoung Lee and Neil Simpkins, Dawn and David Lenhardt, Sueyun and Gene Locks, George Petrocheilos and Diamantis Xylas, Nancy and Fred Poses, Dr. Jan Siegmund and Dr. Benjamin Maddox, Ron and Ann Pizzuti, Jackson Tang, Teresa Tsai, and Todd White and Cameron Carani.
2026 Biennial Committee: Shelley Fox Aarons and Philip Aarons; Susan and Matthew Blank; Estrellita and Daniel Brodsky; James Keith Brown and Eric Diefenbach; Yolanda Colón-Greenberg and Craig Greenberg; Stephen Dull; Charlotte Feng Ford; Christy and Bill Gautreaux; Elaine Goldman and John Benis; Grace Gould and Jonathan Goldberg; Marieluise Hessel; Judelson Family Foundation; Michèle Gerber Klein; Gina Feldman Love and Steven Feldman; Joel Lubin; Bernard I. Lumpkin and Carmine D. Boccuzzi; Marc S. Solomon, Cindy Levine & Interlaken LLC; The Robert Mapplethorpe Foundation; Jamie Watson in memory of Emmett Watson; George Wells and Manfred Rantner; Casey and Lauren Weyand; and an anonymous donor.
Generous support is provided by The James Howell Foundation, The Keith Haring Foundation Exhibition Fund and the Trellis Art Fund.
Biennial funding is also provided by endowments created by Emily Fisher Landau, Leonard A. Lauder, and Fern and Lenard Tessler.
Curatorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.
Support is also provided by the Marshall Weinberg Fund for Performance, endowed in honor of his parents Anna and Harold Weinberg who taught him the meaning of giving.
The Whitney Biennial and Hyundai Terrace Commission are a multiyear partnership with Hyundai Motor. The Hyundai Terrace Commission is an annual site-specific installation on the Whitney Museum’s fifth-floor outdoor gallery.
Artist List
Basel Abbas & Ruanne Abou-Rahme Basel Abbas (he/him) Born 1983 in Nicosia, Cyprus Ruanne Abou-Rahme (she/her) Born 1983 in Boston, MA Live in Brooklyn, NY and Palestine
Kelly Akashi Born 1983 in Los Angeles, CA Lives in Altadena, CA
Kamrooz Aram (he/him) Born 1978 in Shiraz, Iran Lives in New York, NY
Ash Arder (she/they) Born 1988 in Muscatawing (Flint, MI) Lives in Waawiyatanong (Detroit, MI)
Teresa Baker (she/her) Born 1985 in Mandan/Hidatsa Lives in Los Angeles, CA
Sula Bermudez-Silverman (she/her) Born 1993 in New York, NY Lives in Los Angeles, CA
Zach Blas (he/him) Born 1981 in Point Pleasant, WV Lives in Toronto, Canada
Enzo Camacho & Ami Lien Enzo Camacho (they/them) Born 1985 in Manila, Philippines Ami Lien (they/them) Born 1987 in Dallas, TX Live in Berlin, Germany and New York, NY
Leo Castañeda (he/him) Born 1988 in Cali, Colombia Lives in Miami, FL
CFGNY (Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen) Founded 2016 Based in Brooklyn, NY
Nani Chacon (she/her) Born 1980 in Gallup, NM Lives in Albuquerque, NM Navajo Nation
Maia Chao (she/her) Born 1991 in Providence, RI Lives in Philadelphia, PA
Joshua Citarella (he/him) Born 1987 in New York, NY Lives in New York, NY
Mo Costello (she/her) Born 1989 in Seattle, WA Lives in Athens, GA
Taína H. Cruz (she/her) Born 1998 in New York, NY Lives in New Haven, CT
Carmen de Monteflores (she/they) Born 1933 in San Juan, Puerto Rico Lives in Berkeley, CA
Ali Eyal (he/him) Born 1994 in Baghdad, Iraq Lives in Los Angeles, CA
Andrea Fraser (she/her) Born 1965 in Billings, MT Lives in Los Angeles, CA
Mariah Garnett (she/they) Born 1980 in Portland, ME Lives in Los Angeles, CA
Ignacio Gatica Born 1988 in Santiago, Chile Lives in New York, NY and Santiago, Chile
Jonathan González (they/them) Born 1991 in Queens, NY Lives in New York, NY and Philadelphia, PA
Emilie Louise Gossiaux (they/them) Born 1989 in New Orleans, LA Lives in New York, NY
Kainoa Gruspe (he/him) Born 1995 in Louisville, KY Lives in Honolulu, HI
Martine Gutierrez (she/her) Born 1989 in Berkeley, CA Lives in New York, NY
Samia Halaby (she/her) Born 1936 in Palestine Lives in New York, NY
Raven Halfmoon (she/her) Born 1991 in Oklahoma City, OK Lives in Norman, OK Caddo Nation
Nile Harris with Dyer Rhoads Nile Harris (he/him) Born 1995 in Miami, FL Dyer Rhoads (he/him) Born 1996 in Portland, ME Live in Brooklyn, NY
Aziz Hazara (he/him) Born 1992 in Wardak, Afghanistan Lives in Berlin, Germany
Margaret Honda (she/her) Born 1961 in San Diego, CA Lives in Los Angeles, CA
Akira Ikezoe (he/him) Born 1979 in Kochi, Japan Lives in New York, NY
Mao Ishikawa (she/her) Born 1953 in Okinawa under US Administration Lives in Okinawa, Japan
Cooper Jacoby (he/him) Born 1989 in Princeton, NJ Lives in Miami, FL and Paris, France
David L. Johnson (he/him) Born 1993 in New York, NY Lives in New York, NY
kekahi wahi (Sancia Miala Shiba Nash and Drew K. Broderick) Founded 2020 Based in Honolulu, Kona, Oʻahu, HI
Young Joon Kwak (they/them) Born 1984 in Queens, NY Lives in Los Angeles, CA
Michelle Lopez (she/her) Born 1970 in Bridgeport, CT Lives in Philadelphia, PA
José Maceda (he/him) Born 1917 in Manila, Philippines Died 2004 in Quezon City, Philippines
Agosto Machado (he/him) Born in New York, NY Lives in New York, NY
Oswaldo Maciá (he/him) Born 1960 in Cartegena de Indias, Colombia Lives in Santa Fe, NM and London, United Kingdom
Emilio Martínez Poppe (he/him) Born 1993 in Baltimore, MD Lives in New York, NY
Isabelle Frances McGuire (she/her) Born 1994 in Austin, TX Lives in Chicago, IL
Kimowan Metchewais (he/him) Born 1963 in Oxbow, SK, Canada Died 2011 in Saint Paul, AB, Canada Cree, Cold Lake First Nations
Nour Mobarak (she/her) Born 1985 in Cairo, Egypt Lives in Athens, Greece and Bainbridge Island, WA
Erin Jane Nelson (she/her) Born 1989 in Neenah, WI Lives in Santa Fe, NM
Precious Okoyomon (they/them) Born 1993 in London, United Kingdom Lives in Brooklyn, NY
Aki Onda (they/them) Born 1967 in Tenri, Nara, Japan Lives in Mito, Ibaraki, Japan
Pat Oleszko (she/her) Born 1947 in Detroit, MI Lives in New York, NY
Malcolm Peacock Born 1994 in Raleigh, NC Lives in Brooklyn, NY
Sarah M. Rodriguez Born 1984 in Honolulu, HI Lives in Ojo Caliente, NM
Gabriela Ruiz (she/her) Born 1991 in San Fernando Valley, CA Lives in Los Angeles, CA
Jasmin Sian (she/her) Born 1969 in the Philippines Lives in New York, NY
Jordan Strafer (she/her) Born 1990 in Miami, FL Lives in New York, NY and Athens, Greece
Sung Tieu (she/her) Born 1987 in Hai Duong, Vietnam Lives in Berlin, Germany
Julio Torres Born 1987 in San Salvador, El Salvador Lives in New York, NY
Anna Tsouhlarakis (she/her) Born 1977 in Lawrence, KS Lives in Boulder, CO Navajo Nation and Creek
Johanna Unzueta Born 1974 in Santiago, Chile Lives in Berlin, Germany and New York, NY
The Whitney is the only museum dedicated to American art and artists. Gertrude Vanderbilt Whitney founded the Museum in 1930, taking a bold stand for American artists who were often overlooked. Today, our collection features works by over 4,000 artists, including luminaries like Edward Hopper, Georgia O’Keeffe, Jean-Michel Basquiat, Alexander Calder, and Faith Ringgold. Our signature exhibition, the Whitney Biennial, is the longest-running survey of American art, where artists test boundaries, spark conversation, and shape culture.
Every visit to the Whitney is an invitation to engage with the pressing issues and leading artists of our time through an array of exhibitions and programming for all ages. Robust free and discounted offerings, such as Free Friday Nights and Free Second Sundays, ensure that the Whitney is as accessible as it is inspirational. Located in the heart of New York City’s vibrant Meatpacking District, our Renzo Piano-designed building features state-of-the-art galleries and sweeping skyline views of the Statue of Liberty and the Empire State Building from our terraces. After viewing the galleries, visitors can grab a drink and a bite at Studio Bar and Frenchette Bakery or explore neighborhood attractions like the High Line and Little Island. The Whitney is your home for discovering the richness and complexity of American art.
Image: (top) Lucy + Jorge Orta, Gaia with Pleades, 2025. Tapestry woven with wool, recycled PETT, Elirex silver thread,
66 7/8 x 66 7/8 in.
Lucy + Jorge Orta: from root to rain
The exhibition will be on view at Jane Lombard Gallery from March 13th – April 25th, 2026, with an opening reception on March 13th from 6 – 8 PM.
Jane Lombard Gallery is pleased to announce from root to rain, marking the third solo exhibition by the artist duo Lucy + Jorge Orta. From the Amazon rainforest to the desert of Saudi Arabia, this exhibition spans painting, embroidery, tapestry, and film to examine environments shaped by ecological instability. Utilizing scientific research practices, the artists draw upon regions where natural resources are increasingly depleted, translating research and data into poetic visual forms.
At the center of the exhibition are three woven tapestries, from a series of nine, recently exhibited at the British Textile Biennial. The tapestry Gaia with Pleades positions the earth goddess Gaia as both guide and witness of past and future events. The tapestries function as maps, drawing on celestial navigation and ancient cosmologies to understand humanity’s place within the natural world. The images reflect the cyclical nature of changing environments from abundance to scarcity, to conflict migration and nomadic living, and the possibility for renewal.
The Wadi Hanifah Embroidery Landscape intertwine an abstract narrative of desert survival. The silk appliqué motifs depict plant species endemic to Wadi Hanifah, a desert valley west of Riyadh, Saudi Arabia. Resilient desert plants, shrubs, and trees are embroidered onto colored canvas. Each species is paired with geometric motifs derived from Al Sadu, the traditional weaving practice of Bedouin women, whose patterns encode astronomical and environmental knowledge essential to nomadic life. Through triangles and lozenge clusters referencing star formations and desert flora, the works articulate a visual language of adaptation and resilience amid accelerating urbanization and climate change.
Fabulae Naturae paintings extend the artists’ inquiry into the mythic and symbolic dimensions of nature. Enlarged petals and botanical forms dissolve into layered fields of saturated pigment, hovering between figuration and abstraction. Flowers hold a myriad of meanings, from medicinal and culinary uses, to poetic and cultural emblems. Since the Ortas’ first expedition to the Amazon in 2009, the practice of rendering flowers has served as source material and inspiration. The resulting Fabulae Naturae paintings reveal up-close, magnified details of species from their vast visual database. Works from the series are accompanied by a Certificate of Stewardship, each linked to a precise one-by-one-meter plot of rainforest, underscoring the artists’ commitment to ecological responsibility.
Also from the series Amazonia, a film and three embroidered panels with lines of poetry situate the exhibition within the artists’ broader, decades-long investigation of interwoven ecosystems. Lucy + Jorge collaborated with eco-poet Mario Petrucci to create the audio-poem ‘Amazonia’ for the film, drawing from footage the artists recorded on their expedition to witness the effects of climate change on the Amazon rainforest. The narrated poem evokes the interconnectedness of all things, mourning species lost to extractivism while immersing the viewer in an ecologically vital biosphere through howler monkeys, birds, insects, and flowing rivers. Alongside the floral paintings and narrative tapestries, the video provides an embodied sensorial experience, grounding the exhibition in the reality of interwoven living systems.
Through textiles, paintings, poetry, and film, from root to rain presents a meditation on species and the accelerating transformations of our natural world. The interlacing of mediums throughout the exhibition mirrors the interconnectedness of environmental systems, offering a visual reflection on coexistence, fragility, and the urgent need for ecological care.
Jane Lombard Gallery 58 White Street New York, NY 10013 Tel: 212.967.8040
(L-R) Cho Sung-Hee, Pink Blossom, 2025, collage, korean rice paper and oil on canvas,
162.5 x 130 x 11 cm | 162.5 x 130 x 11 in; Pieter Obels, You Might Be the One, 2025,
corten steel on wooden base, 240 x 150 x 120 cm | 94.5 x 59.1 x 47.2 in
Cho Sung-Hee & Pieter Obels :Nature In Form
MARCH 6-29, 2026
Opera Gallery Miami is pleased to present ‘Nature in Form’, a two-artist exhibition pairing Cho Sung-Hee’s delicate works constructed from hanji paper with Pieter Obels’ gravity-defying Corten steel sculptures. On view from March 6–29, 2026, the exhibition explores how two distinct practices translate natural principles—such as balance, structure, and rhythm—into clear, deliberate form.
Working from different geographic and cultural contexts—Obels in the Netherlands and Cho Sung-Hee in South Korea—the artists arrive at a shared visual language defined by process-oriented practice and material awareness.
Obels harnesses the natural oxidation of Corten steel, guiding an industrial material into forms that feel fluid, light, and in motion. His sculptures appear to float, their sinuous, ribbon-like structures challenging expectations of weight and mass. His practice centers on balance, tension, and the suggestion of movement held in equilibrium.
In contrast, Cho Sung-Hee approaches nature through reduction and accumulation, building her compositions from meticulously layered, hand-cut elements. Light and spatial relationships determine how the work is read and experienced, giving the compositions clarity and structural focus. Rooted in Korean aesthetics and traditions, as well as her own personal memories tied to her family’s garden, her process treats nature as both subject and material framework.
“Despite their vastly different materials and processes, both artists’ work have a strong sense of lightness,” says Dan Benchetrit, Director of Opera Gallery Miami. “Space and proportion are key to how the work is experienced, and the meticulous craftsmanship is immediately evident. Rather than trying to directly emulate nature, both artists focus on working with its basic principles.”
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1. Pieter Obels, You Might Be The One, 2025, Corten steel on wooden base, 240 x 150 x 120 cm |
Pieter Obels (b. 1968, Kruisland, The Netherlands) studied at the Academy for Fine Arts in Tilburg, where he continues to live and work. His sculptures, created entirely by hand, explore the tension between the industrial and the organic. Through elegant curves and balanced forms, he transforms Corten steel into something supple and lyrical.
His works have been exhibited across Europe and are part of numerous private and public collections including Bad Ragaz, Switzerland; The Valley, Amsterdam; and Achmea Art Collection, Utrecht, Netherlands.
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1. Cho Sung-Hee, Olive Green Blossom, 2025, collage, korean rice paper and oil on canvas
64 x 51.2 x 4.3 cm | 162.5 x 130 x 11 in
2. Cho Sung-Hee, Garden in My Mind F, 2025-26, collage, korean rice paper and oil on canvas
28.6 x 23.9 x 3.5 cm | 72.7 x 60.6 x 9 in
3. Cho Sung-Hee, White Globe, 2026, collage, korean rice paper and oil on canvas,
51.2 x 76.4 x 4.3 cm | 130 x 194 x 11 in
Cho Sung-Hee, Pink Blossom, 2025, collage, korean rice paper and oil on canvas, 64 x 51.2 x 4.3 cm | 162.5 x 130 x 11 in
About Cho Sung-Hee
Cho Sung-Hee (b. 1949, Jeon-ju, South Korea) received her Bachelor of Fine Arts from Hongik University (Seoul) and her Master of Arts from Ewha Women’s University (Seoul). She also studied at Pratt Institute of Art (New York) and the Art Institute of Chicago.
Her works have been exhibited and collected by prestigious private and public institutions including the Museum of Contemporary Art, Seoul; the Sejong Art Centre, Seoul; the Telentine Art Centre, Chicago; the L.A. Korea Cultural Service, Los Angeles; the New York Cultural Service; the Mutual Saving and Finance Company, Seoul; and Domino Foods, Inc., New York. She now lives and works in Seoul.
About Opera Gallery
Founded in Singapore in 1994, Opera Gallery has forged a global network with locations in London, Paris, New York, Geneva, Madrid, and Dubai, establishing itself as a leading force within the international art market.
Headed by Gilles Dyan, Chairman and Founder, Opera Gallery specializes in modern, post-war, and contemporary art. In addition, the gallery represents international emerging artists such as Andy Denzler, Pieter Obels, and Gustavo Nazareno, alongside internationally recognized names including Ron Arad, Manolo Valdés, and Anselm Reyle.
For more than 30 years, Opera Gallery’s mission has been to showcase the dynamic, innovative, and diverse expressions of modern and contemporary art through its ambitious yearly exhibition programming and collaborations with private collections and leading public institutions. Opera Gallery in Miami is led by Dan Benchetrit.
MIAMI ARTIST COURTNEY EINHORN CHOSEN TO DESIGNTHE OFFICIAL MEDAL RIBBON OF THE 2026 LIFE TIME MIAMI MARATHON
The South Florida painter who left a career in Speech Pathology to follow her passion for art has created a ribbon that 18,500 runners from over 70 countries will wear across the finish line.
Courtney Einhorn has spent more than 13 years turning Miami’s colors, energy, and soul into art that stops people in their tracks. Now, her work will quite literally stop runners in theirs — at the finish line of the 2026 Life Time Miami Marathon.
The Miami-born artist has been selected to design this year’s official finisher medal ribbon — one of the most coveted keepsakes in the world of distance running. Her design is a true celebration of Miami, brought to life through her signature vibrant lens: five original paintings spanning her entire career, woven together into a single tapestry that mirrors the emotional journey every runner takes from start to finish.
“It’s surreal,” Einhorn says. “This isn’t just a moment — it’s something runners will treasure forever.”
THE LEAP: FROM SPEECH PATHOLOGY TO THE CANVAS
Art has been part of Einhorn’s life since before she could read. Her earliest memories of painting stretch all the way back to preschool — a passion she carried quietly through the years while earning a Master’s degree in Speech-Language Pathology and building a professional career.
In 2013, she made the decision that would change everything: she left her 9-to-5 behind and committed fully to painting. That leap of faith led to rapid recognition — gallery exhibitions, festival showcases, major brand collaborations, and an unmistakable presence throughout South Florida.
Today, her murals and artwork can be found in hospitals, hotels, schools, restaurants, storefronts, construction sites, buses, pillars, and even parking meters. She is also beloved locally for her high-energy live paintings — creating works in real time before large crowds at major events — and for her mobile paint party business, which brings her art and instruction directly to communities across the region.
A CAREER BUILT ON COLOR AND COLLABORATION
Einhorn has created original work for some of the world’s most recognized brands and beloved South Florida institutions: Swatch, Birkenstock, CitizenM Hotels, Cirque du Soleil, Rimmel London, LIFEWTR, Dyson, Allergan, El Jimador Tequila, Finlandia Vodka, The Florida Lottery, Teavana Tea, J.Crew, The Miami Heat, The Miami FC, Baptist Children’s Hospital, and The Miami Marine Stadium — among many others.
She has been part of Sunfest, Art Basel, Miami Swim Week, and Pitbull’s New Year’s Eve Concert. Her work has appeared in a LIFEWTR national television commercial, on The Real Housewives of Orange County, and in commercials for the Miami FC. And her art has been featured in The Huffington Post, Ocean Drive Magazine, The Miami Herald, Miami New Times, Luxe Interiors + Design, and numerous international art publications.
Deeply influenced by the vibrant colors of her hometown, Einhorn creates artwork designed to uplift, energize, and spark genuine joy. “I often hear that my artwork makes people feel genuinely happy,” she says. “That’s a response I seek in every piece.”
THE RIBBON: A VISUAL LOVE LETTER TO MIAMI
For the 2026 ribbon, Einhorn drew from five original paintings that span her entire career — each one showcasing a different stage of her evolution as an artist. The variety in style is intentional. Together, the paintings form a vibrant tapestry of the Miami Marathon experience, one that mirrors the journey every runner takes from start to finish.
Each brushstroke captures a moment of magic along the course: peacocks greeting the sunrise in Coconut Grove, the first golden light cresting over the MacArthur Causeway, sailboats swaying gently beside the bay, palm trees dancing along Ocean Drive, and the iconic skyline rising like a beacon of possibility.
Threaded throughout the artwork are Einhorn’s signature hearts — symbols of Miami’s warmth, and of the passion, grit, and commitment each runner pours into every mile. “Running is great for our heart and health, but every runner also puts their whole heart into this race,” she explains. The hearts honor that collective spirit — 18,500 strong.
Designing this ribbon marks a new milestone in Einhorn’s career — one that allows thousands of runners from all 50 states and more than 70 countries to carry a piece of Miami’s artistic soul home with them. The Life Time Miami Marathon has featured elite local artists on its finisher medals and ribbons since 2012, and Einhorn now joins that distinguished roster.
“This ribbon will be something runners keep for the rest of their lives — a visual of their accomplishment,” she says. “Being from Miami makes it even more special.”
