An inaugural solo exhibition exploring memory, care, and emotional inheritance
Miami, FL — P71 is proud to present Unstable Ground, its inaugural exhibition and a solo presentation by Sharon Berebichez.
Unstable Ground invites viewers to reflect on the invisible architectures of care and the emotional landscapes formed within them. Featuring a selection of works from the artist’s ongoing Borderline Motherhood series, the exhibition brings together paintings and sculptural works that navigate the fragile terrain of memory, care, and emotional inheritance.
Through her practice, Berebichez constructs a visual language that oscillates between balance and rupture, rhythm and instability. Drawing from her experience as the daughter of a mother with borderline personality disorder, the work examines the complexities of attachment, vulnerability, and unpredictability.
Material Language and Symbolism
Berebichez’s choice of materials and imagery is both deliberate and evocative. Working with thrifted ceramic tea sets and symbols associated with maternal care, she creates carefully balanced compositions that are painted, embroidered, beaded, and assembled into singular sculptural forms.
These elements—both delicate and weight-bearing—embody a tension between fragility and resilience. Floral patterns and gold trim evoke an idealized sense of domestic harmony, while simulated spilled liquids and precariously balanced arrangements suggest an ever-present risk of collapse.
What initially appears composed and luminous reveals itself, upon closer inspection, as contingent and vulnerable—capable of shattering, spilling, or slipping out of balance at any moment.
About the Artist
Sharon Berebichez is a Mexican-born, process-based artist and educator currently living in Miami, Florida. She is a member of Collective 62, where she maintains her studio practice and teaches art classes.
Her work is deeply informed by her identity as a Jewish woman and a third-generation migrant.
Opening Reception
The public is invited to the opening reception on:
Wednesday, April 15, 2026 6:00 – 9:00 PM
at P71, with the opportunity to meet Sharon Berebichez and experience the work firsthand.
Exhibition Details
Exhibition:Unstable Ground
Artist: Sharon Berebichez
Curator: Adriana Zubikarai
Dates: April 15–29, 2026
Opening Reception: April 15, 2026, 6:00–9:00 PM
Location: P71, 230 NW 71st St, Miami, FL 33150
About P71
P71 is a contemporary art initiative in Little River, Miami, conceived as a hybrid platform for artistic production, experimentation, and community building. It brings together artist studios and a cultural lab model to foster dialogue, collaboration, and a shared curatorial framework.
El Spotlight Program y la expansión del ecosistema artístico contemporáneo
Del 9 al 12 de abril de 2026, Artexpo New York 2026 reafirma su posición como una de las plataformas más democráticas y dinámicas del arte contemporáneo global. A diferencia de ferias más institucionalizadas, Artexpo opera en un territorio híbrido: entre mercado, laboratorio curatorial y espacio de experimentación abierta.
El Spotlight Program de esta edición no solo visibiliza artistas y galerías emergentes, sino que construye un dispositivo curatorial descentralizado, donde la experiencia del espectador se convierte en un acto activo de descubrimiento.
I. El Spotlight Program: curaduría como cartografía del presente
La selección de este año —que incluye propuestas como Artwise Online, Muisca Gallery, Drew Marc Gallery, Christopher Lotus, Christian Burnham y Catherine Blackburn— funciona como una cartografía de prácticas contemporáneas que oscilan entre lo material, lo digital y lo conceptual.
Más que una lista de participantes, el programa articula una pregunta fundamental:
¿Cómo se redefine la noción de autoría y materialidad en un contexto saturado de imágenes y mediaciones?
Aquí, la curaduría no impone una narrativa única, sino que propone un campo expandido de relaciones.
II. ART LAB: el laboratorio como formato curatorial
Uno de los elementos más significativos de esta edición es la consolidación del ART LAB como espacio de experimentación.
Jason Perez Art Collective — La energía de lo marginal
El Art Collective Lounge en el Mezzanine presenta una convergencia de:
Outsider art
Arte urbano
Cultura pop
Prácticas callejeras
Este espacio no busca legitimarse desde la institucionalidad, sino desde la intensidad del gesto y la inmediatez del proceso. Las demostraciones en vivo y la interacción directa con los artistas transforman al espectador en testigo del acto creativo.
Aquí, el arte deja de ser objeto y se convierte en evento performativo.
“Second Glance”: percepción y desplazamiento
En el booth de K-Art Projects USA, Carola Orieta Sperman y Christian A. Albarracín proponen una investigación sobre la percepción.
Sperman fragmenta la ciudad de Nueva York mediante capas de fotografía y acrílico, generando una imagen en constante movimiento
Albarracín transforma el papel en estructuras tridimensionales que activan el espacio arquitectónico
Ambos artistas operan desde una lógica fenomenológica:
La obra no se ve una vez; se construye en la mirada reiterada.
“Social Media Slave”: crítica de la identidad digital
La instalación de Juan Luis Perez introduce una dimensión crítica sobre la subjetividad contemporánea.
A través de escultura en técnica mixta, el artista confronta:
La performatividad del yo digital
La ilusión de conexión
La fragmentación de la identidad
En este contexto, la obra funciona como un espejo incómodo:
No documenta la realidad digital; la desmantela.
“Seasons”: la persistencia de lo clásico
En contraste, Luis Alvarez Roure presenta una aproximación profundamente ligada a la tradición pictórica.
Su serie Seasons retoma:
Técnicas de los antiguos maestros
Dibujo virtuoso
Estudio psicológico del retrato
Sin embargo, lejos de ser nostálgica, su obra propone una resistencia:
La lentitud como forma de radicalidad en una cultura acelerada.
Discoveries Collection: democratización del coleccionismo
La Discoveries Collection introduce una dimensión económica relevante: obras por debajo de $3,000 seleccionadas por el equipo curatorial.
Esto plantea una tensión interesante:
Por un lado, el acceso ampliado al coleccionismo
Por otro, la posible estetización del mercado emergente
Aun así, funciona como un puente entre nuevos públicos y prácticas contemporáneas.
III. El artista en vivo: proceso como espectáculo
El programa de Meet the Artists & Live Demonstrations —con participantes como Alfred Addo, Barry E. Jackson, Caridad Sola y Haydn Lewis— enfatiza una transformación clave en el ecosistema artístico:
El proceso creativo se convierte en contenido.
Desde una perspectiva museológica, esto desplaza el valor de la obra terminada hacia la experiencia del hacer.
IV. Entre mercado y experiencia: una lectura crítica
Artexpo New York no pretende competir con ferias como Frieze o Art Basel en términos de prestigio institucional. Su fuerza radica en otro lugar:
La accesibilidad
La diversidad de propuestas
La inmediatez del encuentro
Sin embargo, esta apertura también plantea preguntas críticas:
¿Hasta qué punto la espectacularización del proceso diluye el rigor conceptual?
¿Puede el arte mantener su profundidad en un entorno orientado al consumo rápido?
La respuesta no es unívoca. Pero precisamente ahí reside el interés de Artexpo:
En su capacidad de operar en la tensión entre arte, mercado y experiencia.
V. Conclusión
El Spotlight Program de Artexpo New York 2026 no es simplemente una vitrina de talento emergente. Es un ecosistema en movimiento, donde convergen:
Esta edición de Artexpo New York 2026 revela una estructura plural donde conviven prácticas tradicionales y lenguajes contemporáneos en expansión. La clasificación por categorías no solo organiza, sino que evidencia:
La persistencia de lo figurativo
La expansión de lo abstracto
La hibridación de medios
La creciente presencia de prácticas interdisciplinarias
Más que una lista de expositores, este conjunto funciona como un mapa del ecosistema artístico global contemporáneo.
The Flow State:Neurochemistry, Creativity & the Artist's Mind.
Neuroquímica de los estados de flow (Neurochemistry of Flow States)
Cómo entrar en flow a voluntad y expandir la creatividad en el arte contemporáneo
En la historia del arte, los momentos de mayor intensidad creativa han sido descritos como estados de revelación, trance o posesión. Desde los escritos de Johann Wolfgang von Goethe hasta las intuiciones filosóficas de Friedrich Nietzsche, existe una constante: la experiencia de creación auténtica parece surgir desde un estado alterado de conciencia.
En el siglo XX, este fenómeno fue sistematizado científicamente por Mihaly Csikszentmihalyi bajo el concepto de flow: un estado de absorción total donde acción y conciencia se fusionan.
Hoy, gracias a investigaciones contemporáneas —incluyendo el trabajo de Steven Kotler y el Flow Research Collective— entendemos que este estado no es místico, sino neurobiológico. Y más importante aún: puede ser entrenado y activado deliberadamente.
I. La arquitectura neuroquímica del flow
El estado de flow está sostenido por una compleja sinfonía neuroquímica. Durante este estado, el cerebro libera cinco sustancias clave:
Dopamina → enfoque, motivación, reconocimiento de patrones
Anandamida → pensamiento lateral, conexión de ideas distantes
Serotonina → bienestar, regulación emocional
Endorfinas → reducción del dolor, sensación de placer
Estas sustancias no solo optimizan el rendimiento físico, sino que transforman la cognición. El artista en flow no solo produce más, sino que percibe más, conecta más y arriesga más.
Como señalas en el texto base:
El cerebro entra en una “cascada neuroquímica” que amplifica velocidad, profundidad y capacidad de procesamiento
II. El artista en flow: percepción expandida
Desde una perspectiva museológica y estética, el flow redefine la relación entre artista, obra y percepción.
En este estado:
El tiempo se distorsiona (horas → minutos)
La percepción sensorial se intensifica
La intuición sustituye al razonamiento analítico
La autoconciencia disminuye
Este fenómeno es conocido en neurociencia como hipofrontalidad transitoria, una reducción temporal de la actividad en el córtex prefrontal.
Para el artista visual, esto implica algo radical:
La suspensión del yo como filtro crítico permite el acceso directo al proceso creativo.
Es en este punto donde la pintura deja de ser representación y se convierte en evento cognitivo.
III. Creatividad como recombinación: el rol del flow
La creatividad no es un acto ex nihilo. Es un proceso recombinatorio: nuevas ideas emergen del encuentro entre información reciente y estructuras previas.
El flow potencia este proceso en tres niveles:
1. Entrada masiva de información
La dopamina y la norepinefrina intensifican el enfoque, permitiendo absorber más estímulos por segundo.
2. Reconocimiento de patrones
Se reduce el “ruido” cognitivo, facilitando conexiones entre elementos aparentemente inconexos.
3. Pensamiento lateral
La anandamida permite vincular ideas distantes, núcleo de la innovación artística.
Los estudios del Flow Research Collective sugieren aumentos de hasta 700% en creatividad.
IV. Motivación intrínseca: el motor invisible del artista
Desde la psicología, el flow es un estado autotélico: la actividad se justifica por sí misma.
Esto es crucial en el arte contemporáneo, donde el valor no siempre es inmediato ni económico.
El sistema motivacional sigue una secuencia:
Curiosidad → atención sin esfuerzo
Pasión → foco sostenido
Propósito → dirección simbólica
Autonomía → libertad creativa
Maestría → refinamiento técnico
Para el artista, esto se traduce en una práctica donde el estudio no es un lugar de producción, sino de investigación existencial.
V. Cómo entrar en flow “a voluntad”: protocolo para artistas visuales
Contrario al mito romántico, el flow no depende de la inspiración, sino de condiciones específicas.
1. Equilibrio desafío-habilidad
Trabaja en el límite de tu capacidad.
Demasiado fácil → aburrimiento
Demasiado difícil → ansiedad
El arte ocurre en la zona de tensión controlada.
2. Bloques de concentración profunda
90–120 minutos sin interrupciones
Sin teléfono, sin redes
Preparación previa del espacio
La interrupción rompe el estado y puede requerir hasta 15 minutos para recuperarlo
3. Diseñar estímulos dopaminérgicos
Introduce en tu práctica:
Novedad → nuevos materiales, formatos
Complejidad → problemas visuales abiertos
Riesgo → decisiones irreversibles en la obra
Asombro → exposición a lo desconocido (naturaleza, ciencia, archivo)
4. Activar el cuerpo
El flow no es solo mental. Es psicofísico.
Movimiento previo (caminar, estiramientos)
Respiración consciente
Ritmo corporal alineado con la acción
5. Ritmo circadiano
Identifica tu momento de máxima lucidez:
Madrugada → alta claridad conceptual
Noche → mayor apertura asociativa
El artista debe trabajar cuando el sistema nervioso está alineado.
VI. Flow y aprendizaje acelerado
Uno de los descubrimientos más relevantes es que el flowacelera la adquisición de habilidades.
Los neuroquímicos actúan como marcadores de relevancia:
“Esto es importante, consérvalo.”
Estudios asociados a DARPA muestran:
Aprendizaje 230% más rápido
Reducción significativa del tiempo hacia la maestría
Para el artista, esto implica que:
La repetición en flow no es práctica, es transformación estructural del cerebro.
VII. Hacia una estética del flow
Desde una perspectiva filosófica, el flow plantea una pregunta fundamental:
¿Es la obra el resultado del artista, o el artista el resultado del estado?
En el flow, la autoría se diluye. La obra emerge como un sistema autoorganizado donde:
El gesto precede al pensamiento
La forma precede al significado
La intuición precede a la intención
Esto reconfigura la noción misma de creación en el arte contemporáneo.
Conclusión
El flow no es solo una herramienta de productividad. Es un estado ontológico donde el ser humano accede a su máxima capacidad de percepción, acción y creación.
Para el artista visual, dominar el flow implica:
Expandir su lenguaje
Acelerar su aprendizaje
Profundizar su investigación
Y, sobre todo, acceder a niveles de creatividad que trascienden la voluntad consciente
En última instancia:
El flow no mejora el arte. Revela el potencial latente del artista.
PM/AM Gallery — A Hybrid Model for the Emerging Global Condition
PM/AM Gallery — A Hybrid Model for the Emerging Global Condition
PM/AM Gallery occupies a strategically and symbolically charged position at the intersection of Soho and Fitzrovia—two districts historically tied to London’s cultural production and creative industries. Yet beyond its geography, PM/AM distinguishes itself through a hybrid institutional model that merges exhibition-making, residency programming, and editorial practice into a cohesive platform.
From a curatorial and museological perspective, PM/AM operates as a multi-layered ecosystem rather than a conventional gallery. Its dual exhibition floors accommodate a dynamic program that moves fluidly between emerging, recently graduated, and mid-career international artists, while its lower-ground studio functions as a residency space. This integration of production and presentation collapses the traditional separation between studio and gallery, positioning artistic development as a visible and ongoing process rather than a concealed prelude to exhibition.
Central to PM/AM’s ethos is a commitment to engaging with the complexities of contemporary identity and global interconnection. The gallery actively foregrounds artists whose practices emerge from diasporic contexts, reflecting a broader shift in contemporary art toward plural, transnational narratives. In this sense, PM/AM aligns itself with a generation of institutions that seek to decenter dominant art-historical frameworks, privileging instead a multiplicity of voices and lived experiences.
Critically, the gallery’s emphasis on incubation—both through its residency program and its long-term engagement with artists—positions it within a lineage of developmental institutions. However, unlike traditional non-profit or academic models, PM/AM operates within the commercial sphere while maintaining a pedagogical and research-oriented approach. Its activities in publishing, consultation, and editorial production further extend its role beyond exhibition, constructing a discursive environment in which artworks are contextualized, interpreted, and circulated.
The gallery’s collaborative openness—working with external curators, writers, and institutions—reinforces its identity as a networked platform, responsive to the shifting conditions of the global art world. This adaptability is particularly significant in London, a city where the density of galleries often leads to homogenization. PM/AM resists this tendency by cultivating a program that is both forward-looking and critically engaged, attentive to the emergent rather than the already validated.
In museological terms, PM/AM can be understood as a proto-institution: a space that anticipates future models of art engagement by integrating creation, exhibition, and discourse within a single framework. It does not merely present art; it actively participates in shaping the trajectories of artists and the narratives through which their work is understood.
Ultimately, PM/AM Gallery reflects a broader transformation within contemporary art—one in which the gallery is no longer a static container, but a living structure of exchange, production, and cultural negotiation.
Samson Kambalu, Red Country Crosser, 2022, acrylic on canvas, 120 x 120 cm
Galerie Nordenhake — A Transnational Model of Curatorial Integrity
Founded in 1976 by Claes Nordenhake in Malmö, Galerie Nordenhake stands as one of the most intellectually consistent and historically grounded contemporary art galleries operating today. From its inception—marked by an exhibition of Olle Baertling—the gallery positioned itself not merely as a commercial venue, but as a long-term interlocutor in the evolution of artistic practice.
From a museological perspective, Galerie Nordenhake exemplifies a durational model of representation, privileging sustained relationships with artists over market-driven immediacy. This approach has allowed the gallery to support complex, research-based practices, including figures such as Mirosław Bałka, David Hammons, and Mona Hatoum—artists whose work resists easy commodification and instead unfolds through conceptual depth and institutional dialogue.
The gallery’s expansion—from Stockholm (1986, within the Royal Academy of Fine Arts) to Berlin (2000), and later to Mexico City—reflects not a strategy of replication, but one of contextual adaptation. Each space operates with a degree of autonomy, responding to its local cultural ecosystem while maintaining a shared philosophical framework. The Berlin space, for instance, historically engaged with post-reunification discourses, while the Mexico City location—situated in Roma Norte and redesigned by Frida Escobedo—introduces an architectural sensibility that mediates between contemporary exhibition-making and regional spatial traditions.
Critically, Galerie Nordenhake’s program can be understood as a negotiation between aesthetic rigor and institutional relevance. Its exhibitions often foreground practices that interrogate perception, materiality, and socio-political structures, aligning the gallery more closely with museum logic than with purely commercial paradigms. This is further reinforced by its sustained collaborations with major institutions, effectively extending the life of exhibitions beyond the gallery space into broader curatorial and academic frameworks.
What distinguishes Galerie Nordenhake in the global landscape is its resistance to homogenization. In an era where many galleries adopt a unified global identity, Nordenhake insists on plurality—of place, discourse, and artistic voice. Its tri-continental presence does not dilute its vision; rather, it amplifies a curatorial methodology rooted in precision, dialogue, and historical awareness.
In this sense, Galerie Nordenhake operates as more than a gallery: it is a transnational platform for critical practice, where the temporalities of art—past, present, and speculative—are continuously negotiated through exhibition, architecture, and sustained intellectual engagement.
Tuesday – Friday 11am–6pm Saturday 12–6pm Closed during installations and major holidays
CLAES NORDENHAKE CLAUDIA SORHAGE FRANZISKA PETERNELL STEN NORDENHAKE MIRNA STIELER NATALIA FIGUIGUI RONJA KARL OSCAR ROHLEDER JURI GNEWTSCHINSKI GRETA BERGHOFF
Architectural design of the gallery Gonzalez Haase AAS
Stockholm
GALERIE NORDENHAKE STOCKHOLM AB Lützengatan 1 SE-115 20 Stockholm T +46 8 21 18 92 stockholm(at)nordenhake.com
Tuesday – Friday 11am–6pm Saturday 12–4pm Closed during installations and major holidays
BEN LOVELESS ULRIKA PILO MARÍA QUIROGA KARL NORIN NORA CSERHALMI
Architectural design of the gallery Gerda Persson – Bo Pilo
Mexico City
GALERIE NORDENHAKE MEXICO S de RL de CV Monterrey 65, Roma Norte 06700, CDMX, Mexico mexico(at)nordenhake.com
Monday – Thursday 10am–6pm Friday – Saturday 11am–4pm Closed during installations and major holidays
TONI SADURNÍ EDUARDO DÍAZ SOFÍA HINOJOSA MARIANA SALAZAR FELIPE GONZÁLEZ DIEGO ARAMBURU ALFONSO ZÁRATE
Architectural design of the gallery Frida Escobedo Studio
Represented Artists
Aballí, Ignasi Almeida, Ana Cláudia Andersson, Christian Andersson, Torsten Baertling, Olle Baker, Teresa Balka, Miroslaw Barham, Anna Bonillas, Iñaki Böttcher, Ann Budny, Michal Byrne, Gerard Coplans, John Crowner, Sarah Dahlberg, Jonas Damiani, Elena Durham, Jimmie Edholm, Ann Ekström, Thea Errázuriz, Paz Fägerskiöld, Paul Farah, Ayan Finch, Spencer Fridfinnsson, Hreinn Hecker, Zvi Hlatswayo, Thembinkosi Hultén, Sofia Kim, Minjung Klingberg, Gunilla Lagomarsino, Runo Lam, Lap-See Löfdahl, Eva Lum, Ken Männikkö, Esko Maxim, Georgina McCracken, John Meuser Mirra, Hendl Helen Mrozowski, Ryan Namazi, Sirous Olson, Scott Olsson, Mikael Ortwed, Kirsten Orupabo, Frida Potrc, Marjetica Quaytman, Harvey Ramírez-Figueroa, Naufus Rautert, Timm Rehnberg, Håkan Reinhold, Sophie Rossell, Daniela Rückriem, Ulrich Rüedi, Jerónimo Schmidt, Michael Selldén, Mattias Slotawa, Florian Smith, Akeem Tarasewicz, Leon Thörnqvist, Erik Thurfjell, Johan Treib, Patricia Uglow, Alan Vital, Not Wallin, Magnus Xiyadie Zaugg, Rémy Zurier, John
Works Available By
Álvarez Bravo, Lola Andrade Tudela, Armando Barajas, José Eduardo Beltrame, Loudgi Bernhard, Emma Bey, Dawoud Biabiany, Minia Chaiderov, Alina Costales, Rometti Crespo, June Dalwood, Dexter Díaz Cedeño, Tomás Edefalk, Cecilia Escobedo, Frida Esper, Johannes Garcia, ektor Gruner, Silvia Herrera, Mili Hoch, Matthias Jaar, Alfredo Kambalu, Samson Kawara, On Kim, Minjung Lamelas, David Larsson, Karl Loy Pula, Margaret Männikkö, Esko & Turunen, Pekka Morris, Robert Pedraglio, Francesco Pérez Córdova, Tania Reiner, Lucas Rometti, Julia Slim, Pedro Slavs and Tatars Stuart, Michelle Whitney, Stanley Wärn, Lydia Ericsson
Robert Funk Fine Art — Against the Orthodoxy of the Art Market
Robert Funk Fine Art operates as a deliberate counterpoint to the prevailing logic of the contemporary art market. Rather than aligning itself with trend cycles, art fair visibility, or speculative pricing systems, the gallery advances a position grounded in connoisseurship, historical awareness, and an unapologetically independent eye.
From a curatorial and museological standpoint, Robert Funk’s trajectory is central to understanding the gallery’s ethos. His formation—studying painting with Robert Richenburg and Janet Fish, followed by art historical training under critic E.C. Goossen—situates his vision at the intersection of practice, theory, and criticism. This is further expanded by his professional experience as a photographer and advertising art director, fields that sharpened his sensitivity to image construction, visual persuasion, and the often-overlooked dialogue between commercial and fine art.
Critically, Funk’s assertion that commercial art functions as a primary source for fine art destabilizes a long-standing hierarchy within art discourse. His position recalls, yet diverges from, Pop Art’s embrace of mass culture; instead of aesthetic appropriation alone, Funk foregrounds a systemic dependence—suggesting that visual innovation frequently originates outside institutional validation. In this sense, his gallery can be read as an extension of this thesis: a space where value is decoupled from visibility and reinvested in visual intelligence.
The program at Robert Funk Fine Art is notably eclectic, but not arbitrary. It is unified by an insistence on quality—an evaluative category that resists algorithmic pricing models and database-driven valuations that increasingly dominate the art market. Here, the gallery adopts an almost pedagogical role, encouraging collectors to become students of art history rather than passive participants in speculative economies. This approach aligns more closely with early connoisseurial traditions than with contemporary market behavior.
Moreover, the gallery’s advisory dimension underscores a long-term vision of collecting as an intellectual and cultural act. Funk advocates for the recognition of overlooked works—those existing outside the narrow bandwidth of current trends—thereby challenging the mechanisms through which artistic relevance is constructed and sustained.
In a cultural landscape increasingly governed by metrics, branding, and institutional endorsement, Robert Funk Fine Art reasserts the importance of independent judgment, cross-disciplinary awareness, and historical literacy. It is less a gallery in the conventional sense than a critical position—one that invites both collectors and viewers to reconsider how value, influence, and originality are truly formed within the visual field.
http://robertfunkfineart.com/
Gallery Address:
1581 Brickell Avenue, Suite #2303
Miami, Florida USA 33129
(steps from the Four Seasons Hotel in Miami’s Business District)
Gallery Hours: By Appointment Only
Phone: 305.857.0521
Addams, Charles Akoto, Kwame (Almighty God) Alajalov, Constantin Alaux, Jean-Pierre Alling Ball, Seymour Alston, Charles Alston, Louise Altschuler, Franz Anderson, Edward Arthur Anderson, George Andreoni, Orazio Appleton, Honor Artine Smith, Robin Atherton, John August Privat, Gilbert Baechler, Donald Baeder, John Baker, Ernest Hamlin Ballantyne, Joyce Barnet, Will Barton, Harry Bashkiroff-Valira, Irene Bauerle, Amelia Baxter, Doreen Beckhoff, Harry Beltrán-Masses, Federico Bemelmans, Ludwig Benda, Wladyslaw T. Benito, Eduardo Bennett, Elizabeth Benoit, Rigaud Benvenuti, Gianni Berman, Eugene Beskow, Elsa Betts, Ethel-Franklin Bigaud, Wilson Bill, Max Binder, Joseph Blackmore, Katie Blackshear, Thomas Blair, Mary Blanch, Lucile Blanchard, Carol Blashfield, Edwin Howland Blechman, R.O. Bohrod, Aaron Bomberger, Bruce Bombois, Camille Bonheur, Rosa Botke, Jessie Arms Bottex, Seymour Etienne Bowler, Joseph Bresil, Henri-Robert Bridgman, Frederick Arthur Briggs, Austin Bradley, Barbara Briggs Brinkley, Nell Browne, Byron Bundy, Gilbert Burden, Chris Burton, Tim Cabanel, Alexandre Carles, Arthur Beecher Carlsen, Emil Carpenter, Mildred Bailey Carruthers, Roy Carter, Pruett Alexander Cashwan, Samuel Casimir, Laurent Castellon, Federico Castle, Philip Chambers, Charles E. Chaplin, Charles Joshua Chermayeff, Ivan Chestney, Lillian Christy, Howard Chandler Chwast, Seymour Coe, Sue Coleman, Glenn O. Content, Dan Copley, Heather Corbett Melcher, Bertha Corcos, Lucille Cornwell, Dean Cory, Fanny Cougnaud, G. Crockwell, Douglass Curry, John Steuart Custis, Eleanor Parke Dal Fabbro, Mario D’Andrea, Bernard Davis, Paul Davis, Stuart De Diego, Julio De Glehn, Wilfrid Gabriel De Harak, Rudolph De Kooning, Willem De Largillière, Nicolas De Leeuw, Cateau Wilhelmina Delvaux, Paul Denison, Ben Derain, André DeSoto, Rafael De Zayas, Marius Domergue, Jean Gabriel Drayton, Grace G. Driben, Peter Driggs, Elsie Dryden, Helen Duffaut, Préfète Dulac, Edmund Dumm, Edwina DuMond, Frank Vincent Dunlap, Hope Duval-Carrié, Edouard East, Alfred Eastman, Ruth Edzard, Dietz Einsel, Naiad & Walter Eisendieck, Suzanne Ellenshaw, Peter Emerson, Edith Engle, Robert Enneking, John Joseph Erdoes, Richard Ernst, Jimmy Etty, William Evergood, Philip Fabry, Jaro Feininger, Lyonel Fellows, Laurence Fiene, Ernest Fini, Leonor Finster, Howard Fish, Anne Harriet Fitzpatrick, Art Flagg, James Montgomery Flint, Susan Ford, Dan Francis, Sam Freeman, Barbara French, Annie Fried, Pal Friedman, Arnold Friesz, Othon Frishmuth, Harriet Whitney Froud, Brian Frush, Pearl Funk, Robert Gallé, Emile Galli, Stan Gannam, John Garces, Monica Garrido, Hector Georgi, Edwin Gilot, Françoise Giusti, George Glaser, Milton Gomez, Ignacio Goodnough, Robert Gould, John Greenaway, Kate Grey, Alex Grippi, Salvatore Gropper, William Grossman, Robert Grosz, George Gruau, René Gurvin, Abe Hane, Roger Harmon, Lily Hartley, Marsden Haucke, Frederick Hayes, Marvin Helck, Peter Henner, Jean-Jacques Hess, Richard Hiebel, Adelaide Highstein, Jene Hildebrand, George Hirsch, Joseph Hollingsworth, Alvin Hoppner, John Jacobs, Helen Jacquette, Yvonne Jaffee, Al Janicki, Hazel Jurres, Johannes Hendricus Kádár, Béla Karasz, Ilonka Kaufman, Joe Keane, Margaret Kepes, Juliet Appleby Kingman, Dong Kisling, Moïse Koch, John Koerner, W.H.D. Kroll, Leon Kuhn, Walt Künstler, Morton Lachaise, Gaston Lamotte, Bernard Landelle, Charles Larson, Esther Lathrop, Dorothy Pulis Laurencin, Marie Lavroff, Georges Lebasque, Henri Lederer, Hugo Lenski, Lois Lepape, Georges Levine, Jack Lewandowski, Edmund Leydenfrost, Alexander Longman, Evelyn Beatrice Lopez, Antonio Lovell, Tom Ludlow, Mike Luks, George Benjamin MacDonald-Wright, Stanton Maier, Vivian Marin, John Marsh, Reginald Martínez, Alfredo Ramos McCarthy, Frank McKie, Judy Kensley McMein, Neysa Melendez, Robert Meltzoff, Stanley Miyake, Issey Mora, Francis Luis Moran, Earl Morgan, Gwenda Mozert, Zoë Murphy, Marty Myers, Jerome Neiman, LeRoy Nessim, Barbara Nevelson, Louise Newberry, Clare Turlay Newman, Arnold Nordfeldt, Bror Julius Olsson Novoa, Gustavo Obin, Philomé Olson, Victor Orpen, William Parker, Al Peak, Bob Penn, Irving Peterson, Cleon Petruccelli, Antonio Petty, Mary Piper, Christian Porter, Fairfield Pousette-Dart, Richard Pressler, Gene Punchatz, Don Rackham, Arthur Rand, Paul Rattner, Abraham Rebay, Hilla Reisman, Philip Rivers, Larry Romney, George Rouault, Georges Saar, Betye Sarnoff, Arthur Scarry, Richard Schreckengost, Viktor Seltzer, Isadore Shahn, Ben Sheets, Millard Shinn, Everett Smith, Jessie Willcox Siskind, Aaron Steinberg, Saul Stella, Joseph Stoller, Ezra Sundblom, Haddon Tchelitchew, Pavel Tooker, George Tunick, Spencer Utz, Thornton Valcin, Gerard Van Allsburg, Chris Vargas, Alberto Vertès, Marcel Vivin, Louis Walkowitz, Abraham Weber, Max Wegman, William Wiggins, Guy Carleton Whitcomb, Jon Whitmore, Coby Wyeth, Jamie Young, Stephen Scott Zéphirin, Frantz Zorach, Marguerite Zorach, William
Adamar Fine Arts — Between Market Legacy and Contemporary Relevance
Adamar Fine Arts occupies a distinctive position within the cultural and commercial topography of Miami. With nearly four decades of activity, the gallery represents a hybrid model that bridges modern masters, blue-chip contemporary figures, and mid-career international artists, constructing a program that is both historically anchored and market-aware.
From a curatorial standpoint, Adamar’s identity is deeply intertwined with the evolution of the Miami Design District itself. Long before its current status as a global luxury and cultural destination, the gallery contributed to the area’s early transformation into a viable art hub. In this sense, Adamar should be understood not only as a participant in the district’s growth, but as an agent in its cultural regeneration—a role often underexamined in narratives of Miami’s art scene.
The gallery’s roster and inventory reveal a strategic alignment with canonical postwar and contemporary art. By presenting works by figures such as Alex Katz, Andy Warhol, Roy Lichtenstein, Damien Hirst, Ai Weiwei, and Keith Haring, Adamar situates itself within a lineage of artists who have defined the visual language of late 20th- and early 21st-century art. Yet, importantly, this is not a purely retrospective gesture; the inclusion of mid-career and emerging artists introduces a dialogue between established art-historical narratives and contemporary production.
Museologically, Adamar operates in a space that oscillates between exhibition-making and collection-building. Its advisory role and long-term engagement with collectors suggest a model closer to that of a private curatorial platform than a traditional rotating gallery. The emphasis on works across media—painting, sculpture, works on paper, and installation—further reinforces a commitment to material and conceptual diversity, rather than adherence to a singular aesthetic direction.
Notably, the gallery’s transition toward an appointment-based and online model over the past decade reflects broader structural shifts within the art market. This move can be read as both pragmatic and strategic: it allows for a more tailored, discursive engagement with collectors while maintaining participation in key art fairs in cities such as New York, Chicago, and Palm Springs. In doing so, Adamar navigates between intimacy and visibility, private consultation and public exposure.
Critically, Adamar Fine Arts embodies a form of continuity within change. It sustains the legacy of modern and contemporary masters while adapting to evolving modes of distribution, display, and collecting. Its program does not seek radical disruption; rather, it cultivates a steady, informed engagement with art history and market dynamics alike.
In an art world often polarized between speculative novelty and institutional canonization, Adamar positions itself in the interstitial space—where historical significance, market knowledge, and curatorial sensibility converge.
EXPO CHICAGO Contemporary Art Fair showcases leading contemporary and modern art galleries each April at Navy Pier’s Festival Hall, alongside a diverse and inventive program of talks, on-site installations, and public art initiatives. Inaugurated in 2012, EXPO CHICAGO draws upon the city’s robust history as a vibrant international cultural destination, while highlighting the region’s contemporary arts community. In 2023, EXPO CHICAGO was acquired by Frieze, the world’s leading platform for modern and contemporary art.
The 13th edition of EXPO CHICAGO takes place on April 9–12, 2026 at Navy Pier’s Festival Hall.
Highlights of the 2026 edition include a major partnership with the forthcoming Obama Presidential Center, with dedicated sections curated by its Director, Dr. Louise Bernard; Focus, the emerging galleries section curated by Katie A. Pfohl of the Detroit Institute of Arts; Profile featuring solo booths and focused projects by established international galleries, curated by Essence Harden; and a continued collaboration with the Galleries Association of Korea (GAoK).
Profile presents solo booths and focused projects by established international galleries, curated by Essence Harden. The section builds on EXPO’s institutional relationships and acquisition pathways, highlighting rigorous making and a scholarly impulse that invites sustained engagement over time.
About the 2026 Profile Curator:
Essence Harden has curated the Focus section at Frieze Los Angeles since 2024, and will continue to do so in 2026. Most recently, she curated Made in LA, 2025, at The Hammer Museum. Essence is a 2025 recipient of the Teiger Foundation research grant, a 2018 recipient of The Creative Capital | Andy Warhol Foundation Arts Writers Grant, and is a 2020 Annenberg Innovation Lab Civic Media Fellow. Essence has curated exhibitions at the Southern Guild (Los Angeles), California African American Museum (CAAM), The Orange County Museum of Art (OCMA), Art + Practice, Los Angeles Contemporary Exhibitions (LACE), Museum of the African Diaspora (MoAD), and Oakland Museum of California, amongst others. She previously served as a Visual Arts Curator at the California African American Museum.
2026 Profile
47 Canal, New York
Adegbola Gallery, Lagos
Affinity Gallery, Lagos
Babst Gallery, Los Angeles
Corbett vs. Dempsey, Chicago
Duru Artspace, Seoul*
Gallery FINE, Busan*
Fort Gansevoort, New York
Geary Contemporary, Salisbury
half gallery, New York, Los Angeles
ILY2, Portland, New York
Charlie James Gallery, Los Angeles
Kevin Kavanagh, Dublin
Matéria, Detroit
ANDREW RAFACZ, Chicago
Jessica Silverman, San Francisco
Gary Snyder Fine Art MT, Whitehall
Mindy Solomon Gallery, Miami
Soto Gallery, Lagos
THIRD BORN, Mexico City
Yenwa Gallery, Lagos
Focushighlights emerging galleries and artistic practices, featuring galleries 12 years old or younger. Katie A. Pfohl, Associate Curator of Contemporary Art at the Detroit Institute of Arts and past participant of the Curatorial Forum, will curate Focus in 2026.
Titled Gathering of Waters, Focus will explore landscape, migration, and adaptive practices of craft and care, connecting artists and galleries from the Mississippi River Basin with work from across the African, Latin American and Caribbean diasporas. Participating galleries are eligible for the prestigious Northern Trust Purchase Prize.
About the 2026 Focus curator:
Katie A. Pfohl is a curator and writer who works to amplify the voices of artists, foster connections between communities, and create space to engage with the urgent issues of our time. Since 2022, she has served as Associate Curator of Contemporary Art at the Detroit Institute of Arts. At the DIA, she is organizing a major reinstallation of the museum’s 20,000 square foot contemporary galleries, slated to open in 2026. Most recently, Pfohl curated Tiff Massey: 7 Mile + Livernois, the DIA’s most ambitious show for a Detroit artist in its history,which brought almost a quarter of a million visitors to the DIA. From 2015-2022, she was Curator of Modern and Contemporary Art at the New Orleans Museum of Art, where she curated almost 30 exhibitions, acquired or commissioned over 100 works of art, and reinstalled the museum’s twentieth century and contemporary galleries. In 2014, Pfohl completed her Ph.D. in art history at Harvard University, and in 2006 she participated in the Whitney Independent Study Program in New York. Pfohl has held positions at the Philadelphia Museum of Art, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the LSU Museum of Art.
2026 Focus
56 HENRY, New York
april april, Pittsburgh
Artemin Gallery, Taipei
Bertrand Productions, Philadelphia
Bienvenu Steinberg & C, New York
Bianca Boeckel, São Paulo, Salvador
Brandt Gallery, Amsterdam
Buffalo Prescott, Detroit
Jonathan Carver Moore, San Francisco
Circle Art Gallery, Nairobi
Contour Art Gallery, Vilnius
COTT, Buenos Aires
dmincubator gallery, New York
Don’t Look Projects, Los Angeles
EMBAJADA, San Juan
Enari, Amsterdam
GOCA by Garde, New York, Japan
Good Weather, Chicago
Hesse Flatow, New York, Amagansett
High Noon, New York
Jacob Arthur Gallery, Los Angeles
Gillian Jason Gallery, London
K:art Studio, London
Knowhere Art Gallery, Martha’s Vineyard
Latinou, Mexico City
M. LeBlanc, Chicago
Lobster Club, Los Angeles
MAĀT Gallery, Paris
Magenta Plains, New York
Marinaro, New York
THE MISSION PROJECTS, Chicago
Mitochondria Gallery, Houston
Mitre Galeria, Belo Horizonte, São Paulo
Megan Mulrooney, Los Angeles
Nature of Things, Dallas
OSMOS, New York
PARISA Projects, San Diego
Patel Brown, Toronto, Montréal
Public, London
Red Arrow, Nashville
re.riddle, San Francisco
Rivalry Projects, Buffalo
Chris Sharp Gallery, Los Angeles
Sibyl Gallery, New Orleans
Situations, New York
SPACE 776 GALLERY, New York, Seoul
Superposition Gallery, Los Angeles
TERN Gallery, Nassau
TIAN Contemporain, Montréal
VERVE, São Paulo
What Pipeline, Detroit
Yehudi Hollander Pappi, São Paulo
The Galleries sectionfeatures leading international galleries and special partnerships. EXPO CHICAGO continues its collaboration with the Galleries Association of Korea (GAoK), presenting 12 leading Korean galleries within the fair. This initiative builds on the successful synergy established between Kiaf SEOUL and Frieze Seoul.
An expanded partnership with the forthcoming Obama Presidential Center introduces Embodiment, curated by Dr. Louise Bernard, Founding Director of the Obama Presidential Center Museum, inspired by the architecture and commissioned artists of the Obama Presidential Center, ahead of its anticipated opening in 2026.
Dr. Louise Bernard is a Senior Vice President at the Obama Foundation and the Founding Director of the Obama Presidential Center Museum. Previously, she served as Director of Exhibitions at the New York Public Library, on the exhibition design team for the Smithsonian’s National Museum of African American History and Culture as a Senior Content Developer at Ralph Appelbaum Associates, and as a Curator at the Beinecke Library at Yale. She received a Joint Ph.D. in African American Studies and American Studies from Yale. She currently serves on the Board of Directors for the Lyric Opera of Chicago.
2026 Galleries
021 Gallery, Daegu*
Gallery 41, Seoul*
Aicon Contemporary, New York
Allouche Gallery, New York
Arcadia Contemporary, New York
Galería Artizar, Tenerife, Madrid
Avant Gallery, Miami
Richard Beavers Gallery, Brooklyn
Bockley Gallery, Minneapolis
BOGENA GALERIE, Saint Paul De Vence, Phoenix
Casterline | Goodman Gallery, Aspen, Santa Fe
Ethan Cohen Gallery, New York, Beacon
Oliver Cole Gallery, Miami
Cynthia Corbett Gallery, London
Gallery Dasun, Gwacheon*
DOCUMENT, Chicago, Lisbon
Ebony/Curated, Cape Town, Franschhoek
Les Enluminures, Chicago, New York, Paris
Robert Fontaine Gallery, Miami
Friedrichs Pontone, New York
GBS Fine Art, London, Somerset
Gefen Gallery, San Francisco
GPG Gallery, New York
GRAY, Chicago, New York**
GalleryGrimson, Seoul*
Richard Heller Gallery, Los Angeles
Hexton Gallery, Aspen
Nancy Hoffman Gallery, New York
Rebecca Hossack Art Gallery, London, Miami, Singapore
Karma, New York, Los Angeles
Sean Kelly, New York**
Anton Kern, New York**
Keumsan Gallery, Seoul*
LEE & BAE, Busan, New York*
A Lighthouse called Kanata, Tokyo
David Lusk Gallery, Memphis, Nashville
McCormick Gallery, Chicago
Miles McEnery Gallery, New York
moniquemeloche, Chicago
MH Contemporary, New Orleans, Los Angeles
Gallery MOMO, Johannesburg
Galerie Myrtis, Baltimore
Night Gallery, Los Angeles
Gallery Wendi Norris, San Francisco**
Claire Oliver Gallery, New York
Opa Projects, Miami
Paik Hae Young Gallery, Seoul*
PATRON, Chicago
Galerie Pici, Seoul, New York*
Pontone Gallery, London
Qualia Contemporary Art, Palo Alto
Regen Projects, Los Angeles**
Nara Roesler, São Paulo, New York, Rio De Janeiro
Michael Rosenfeld Gallery, New York
Secrist | Beach, Chicago
Marc Straus, New York
Sun Gallery, Seoul*
Suppoment Gallery, Seoul*
Sundaram Tagore Gallery, New York, London, Singapore
Mindy Solomon Gallery — An Incubator for Contemporary Visual Language
848 NW 22nd Street
Miami, FL 33127
United States
Tel: 786-953-6917
Mindy Solomon Gallery has, since its founding in 2009, established itself as a significant node within Miami’s contemporary art ecosystem—particularly in the Allapattah district, where a new generation of galleries has redefined the city’s cultural geography. The gallery’s program is distinguished by its sustained commitment to emerging and mid-career artists, positioning it as both a platform for discovery and a site of critical development.
From a curatorial and museological perspective, Mindy Solomon Gallery functions as an incubator of artistic voices. Its exhibitions foreground practices that traverse painting, sculpture, photography, and video, often collapsing the boundaries between narrative figuration and non-objective abstraction. This duality is not incidental; rather, it reflects a broader curatorial interest in the instability of visual language—how meaning is constructed, disrupted, and rearticulated through form, material, and context.
A defining characteristic of the gallery is its long-standing engagement with material experimentation, particularly within ceramics and sculptural practices. In this regard, the gallery contributes to the ongoing revaluation of mediums historically positioned at the margins of fine art discourse, aligning itself with a broader institutional shift that recognizes craft-based processes as sites of conceptual rigor.
Equally significant is the gallery’s intersection with design. By working closely with interior designers, advisors, and curators, Mindy Solomon extends the life of artworks beyond the exhibition space into lived environments. This approach challenges the conventional separation between art as autonomous object and art as integrated experience, suggesting a more fluid relationship between aesthetic production and spatial inhabitation.
Critically, the gallery’s role exceeds that of a commercial venue. It operates as a mediating structure—connecting artists, collectors, and design professionals while fostering a discourse that is both accessible and intellectually grounded. Its advisory services reinforce this position, encouraging a mode of collecting that is informed, intentional, and responsive to the evolving trajectories of artists’ practices.
In the context of Miami’s rapidly expanding art scene, Mindy Solomon Gallery distinguishes itself through a balance of risk and continuity. It invests in artists at pivotal moments in their careers while maintaining a coherent curatorial vision that privileges experimentation, material intelligence, and cross-disciplinary dialogue.
Ultimately, Mindy Solomon Gallery embodies a model of contemporary practice where emergence is not a category, but a condition—a continuous process of becoming that unfolds across exhibitions, collaborations, and the broader cultural landscape.
Arbelaez, Natalia Barkley, Glenn Casto, Andrew Cohn, Genevieve Contreras, Alejandro Daniel, Melanie Future Kid, Super Gill, John Hayes, Donté Hayon, Jaime Hicks, David Hoque, Asif Howard, Lanise Jimenez, Sydnie Johnson, Ezra Kincaid, Basil Kobayashi, Osamu Kunin, Julia Kvapil, Jay Leonard, Virginia Lopez, Linda MacDowell, Kate Miller, Adam D. Moon, Jiha Olson, Jeremy Phillips, Matt Pocetti, Ornella Salazar Tlatenchi, Moises Sanchez, Ernesto Garcia Schweiger, Zoe Smith, Ali Stacklab Temba, Malaika Trombly, Frances Yang D’Haene, Jane Yehezkelli, Shai
Works Available By
Alcaide, Ricardo Ando, Yuki Baxter, Xavier Billet, Joyce Buckman, Zoë Canevari, Marcelo Cardozo, Eduardo Casella, Jonathan Casey, Autumn Clements, Dee Collado, Yanira Cowan, Amber Davis, Damon Edmondson, Stan Fanning, Brittany Fraleigh, Angela Friedman, Terri Generic Art Solutions Gomez Paz, Daniela Guo, Shuling hettler.tüllmann Jimenez, Haylie Kabangu, Jack Kaneshiro, Kiyoshi Karpov, Darina Lee, Jaiik Lee, Minkyu Lee, Siennie Lefort, Jennifer Martinez, Victoria McGaughey, Sean Merriweather, Murjoni Mojo, Brittany Montgomery, Lindsay Ortiz, Anna Partington, Claire Petersen, Gary Rebhuhn, Christine Rodriguez-Casanova, Leyden Rubinstein, Heather Bause Rudolph, Kelsie Ruiz-Berman, Christian Sanchez, Gabriel Sierra, José Tessi, Juan Turner, Vadis Tyler, Russell Valenzuela, Rodrigo Vasquez Yui, Celia Wright Sr., Jamele Yoon, Justin
Zemack Contemporary Art (ZCA) has, since its تأسablishment in 2010, positioned itself as a dynamic force within the Israeli contemporary art landscape—operating at the intersection of local artistic production and international visibility. In a relatively short period, the gallery has demonstrated an accelerated institutional maturity, marked by an ambitious exhibition program, consistent participation in global art fairs, and a sustained engagement with publishing as a curatorial extension.
From a critical and curatorial perspective, ZCA’s program reflects a deliberate balancing act: it champions both established and emerging artists, constructing a dialogue across generations that mirrors the evolving identity of contemporary Israeli art. This dual commitment is not merely strategic; it signals a broader understanding of the gallery as a discursive platform, where continuity and rupture coexist within the same curatorial framework.
One of the gallery’s most significant contributions lies in its role as a cultural incubator. Through its annual exhibitions of recent graduates from leading Israeli art institutions, ZCA actively participates in shaping the next generation of artists. This initiative situates the gallery within a lineage of spaces that extend beyond representation into pedagogical and developmental territory, reinforcing the idea that galleries can function as early-stage institutions of validation and visibility.
Museologically, ZCA’s activities—particularly its production of artist books and catalogs—expand the exhibition into the realm of documentation and scholarship. These publications serve not only as records but as interpretive frameworks, contributing to the construction of artistic narratives that persist beyond the temporality of exhibitions. In this sense, the gallery aligns itself with institutional practices typically associated with museums, while maintaining the agility of a commercial space.
The gallery’s participation in over 45 international art fairs further underscores its commitment to global circulation. Yet, rather than dissolving into the homogenizing tendencies of the global art market, ZCA retains a distinct sensitivity to its local context. The works it presents often engage—directly or indirectly—with questions of identity, geopolitics, memory, and place, reflecting the complexities of contemporary Israeli society.
Critically, Zemack Contemporary Art can be understood as a mediating structure between periphery and center. It negotiates the tension between a geographically specific art scene and the demands of international recognition, enabling artists to operate within both spheres without losing conceptual integrity.
In an era defined by rapid market expansion and cultural convergence, ZCA distinguishes itself through a model that is both responsive and rooted—a gallery that not only reflects its context but actively participates in shaping the intellectual and aesthetic contours of contemporary art in Tel Aviv and beyond.
Represented Artists
Arsenyuk, Elisheva Arsenyuk, Sara Assaf, Kobi Balilty, Oded Ballen, Roger Bandaid, Dede Boog, Piet van den Brunsher, Sharon Caillard, Léo Feuerman, Carole A. Harari Navon, Neta Herbst, Martin C. Hofshi, Orit Kislev, Haran Koren, Michal Baratz Levinson, Avner Mintz, Nitzan Ozeri, Yigal Pasqua, Philippe Rubinstein, Tamar Sher, Angelika Shor, Shirley Verginer, Willy Yairi, Yuval Yanor, Lee Young, Russell Zaltzman, Dana Ziv, Tal
Works Available By
Aboudia Adoni, Nir Azoulay, Shai Bakal, Rubi Balaklav, Leonid Ballen, Roger Baranga, Ronit Baruch, Ilan Basquiat, Jean-Michel Ben Cnaan, Matan Ben Dov, Osnat Ben-Or, Anne Bernhardt, Katherine Brainwash, Mr. Brunsher, Sharon Butman, Roma Calder, Alexander Chelbin, Michal Chen, Li Chen, Yarden Cohen-Kedar, Dvir Colbert, Philip Condo, George Dafna, Reut Dana, Yves Dennis, Marc Dryzin, Yael Dryzin Reboh, Yael Feuerman, Carole A. From, Bar Fuchs, Orit Fuhrer, Michal Geva, Tsibi Gershon, Adi Gershuni, Aram Gilliam, Sam Golani, Tal Gold, Jonathan Gold, Maya Goldman, Jonathan Gorynin, Aleksandr Gunther, Katrin Harari Navon, Neta Hemed, Dror Yisrael Herbst, Martin C. Hirst, Damien Indiana, Robert Jacobi, Liya Kandel, Ella Kaiss, Mahmood Katz, Alex KAWS Kedmi, Ron Keller, Aviv Koons, Jeff Koren, Michal Baratz Koren, Killy Kroll, Liron Kusama, Yayoi Lellouche, Ofer Lemay, Eugene Lichtenstein, Roy Liv, Lena Markus, Iddo Milchan, Elinor More, Eti Muniz, Vik Murakami, Takashi Nipo, David Nov, Raz Oliva, Osnat Opie, Julian Pasqua, Philippe PESH Picasso, Pablo Pilpeled Rauchwerger, Jan Raz, Ronen Reboh, Yael Dryzin Ronen, Dubi Romberg, Osvaldo Rozenson Ben-Hur, Anat Rubinstein, Tamar Salem, Refael Salustiano Sasportas, Yehudit Scharf, Kenny Senior, Haim Shakine, Eran Shanan Dery, Fatma Shamir, Elie Shani, Assaf Shor, Shirley Someck, Ronny Stanley, Arinze Sultan, Donald Takele, Nirit Tal Inbar, Zohar Tarka, Moshe Tirosh, Hagar Tzur, Ayala Vaadia, Boaz Verginer, Willy Vitkon, Eitan Warhol, Andy Weiwei, Ai Wiley, Kehinde Worke, Michal Yaheli-Sarbagili, Osnat Yairi, Yuval Yanor, Lee Yoel, Gaia Young, Russell Zaltzman, Dana Zeng, Fanzhi Zimbalista, Ofra Ziv, Tal
