Curator Talks and Tours: Gyula Kosice’s “Intergalactic”

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Curator Talks and Tours: Gyula Kosice’s “Intergalactic”

March 20, 2025
7:00 PM – 8:00 PM
At PAMM 1103 Biscayne Blvd, Miami, FL 33132

For the opening of Gyula Kosice: Intergalactic, join exhibition co-curators María Amalia García and Mari Carmen Ramírez for a tour and intimate conversation.

The curator-led tour and Intergalactic Member Lounge are currently at capacity. Members are still welcome to explore the exhibition during our member preview, starting at 11am, or use the member unlimited admission benefit at any other time. This way, we can ensure an enjoyable experience while preserving the integrity of the artwork.

One hundred years after his birth, Gyula Kosice: Intergalactic celebrates the career of the Argentine artist Gyula Kosice (b. 1924, Košice, Czechoslovakia; d. 2016, Buenos Aires, Argentina), an experimental artist, sculptor, poet, and theorist. Co-founder of Arturo (1944) and Madí (1946), two constructive art groups centered in the Río de la Plata region between Uruguay and Argentina, he was also a prominent figure in the international avant-garde after 1945. His practice introduced original artistic ideas, such as interactive sculptures, which questioned the relationship between the art object and the spectator and experimented with a wide range of materials, many of which had never been used in art.

Like Julio Le Parc and Carlos Cruz-Diez, he incorporated light and motion yet, was one of the first to incorporate water in his works. Intergalactic focuses on his experimental production, in which motion was a constant and essential feature. It includes works that he created between 1950 and 1980, such as acrylic sculptures, kinetic reliefs, and drops of water, most of which incorporated lights and were activated by aerators and motors.

The exhibition features Gyula Kosice’s most ambitious work, The Hydrospatial City (1946–2004), an experiential installation comprised of architectural prototypes that speculate on the possibility of human settlement beyond Earth brought on by socioeconomic inequality, environmental degradation, and astronomical population growth. As an alternative, he proposed a city of semi-open, modular habitats suspended 5000 feet above the ground and powered by oxygen and hydrogen harnessed from water vapor in the clouds.

Schedule
11am–7pm Member Exhibition Preview
6–7pm Curator-led, members-only tour
7–9pm Public Exhibition Opening
7–9pm Member Appreciation Lounge: Intergalactic
7:30pm Curator Talks and Tours: Gyula Kosice’s Intergalactic

Free with museum admission. Admission is $18 for adults and free for members.

Jaye Rhee’s Fragile Terrain Is a Pixelated Dreamscape With a Dose of Existential Dread

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**Jaye Rhee’s Fragile Terrain Is a Pixelated Dreamscape With a Dose of Existential Dread**

Editor review

Walk into Locust Projects right now, and you’ll find yourself drowning—not in water, but in pixels. Jaye Rhee has conjured a paper-cut hallucination of Miami’s oceanfront, a swirling mass of 700 pixelated cubes and 200 rounded objects; each meticulously handcrafted from recycled, custom-printed paper. This process of handcrafting each element, from the initial design to the final placement, is a testament to Rhee’s dedication and artistic skill. It is a landscape that is not a landscape, a place that exists nowhere except in memory, screens, data, and the flickering remnants of our over-digitized lives.

But here’s the allure: It is breathtakingly beautiful. Fragile Terrain is seductive and artificial, a film set masquerading as nature, a virtual world that crinkles under your breath. It’s a mirage built on paper and nostalgia, and like all mirages, it makes you question what is real. Where does nature end and technology begin? Are we experiencing the world or just its representation?

Rhee—trained at the School of the Art Institute of Chicago and now based in New York—doesn’t just make art; she hijacks your senses. This isn’t some polite, decorative thing. Her work is sly, calculated, and loaded with existential contradictions. These contradictions, such as the juxtaposition of the natural and the digital, the beautiful and the artificial, are at the heart of her work. It’s landscape painting for the algorithmic age, a callback to the 19th-century Romantics who longed for untouched nature, only this time; the longing is filtered through pixels, data points, and mass production.

It is also impossible to overlook the ominous undertone running through this show. This fragile, handcrafted illusion of paradise is built from waste—a stark reminder that even our idyllic visions are shaped by consumption and excess. The tech that allows us to replicate nature is aiding in its destruction. That is the gut punch here: Fragile Terrain is both a love letter and a warning sign, a call to action.

And yet—god, it is gorgeous. The whole thing shimmers like a broken screen, a heat mirage, a glitch in the system. Stand there long enough, and you’ll start to feel the pull of it, the weight of all those hand-folded, perfectly imperfect pixels, each one whispering: Is this real? Does it even matter? This contemplation is part of the experience Rhee invites you to have with her work. What are your thoughts? How does it make you feel?

Jaye Rhee has built something that floats between worlds, where nature is a ghost, the digital is physical, and everything—absolutely everything—is fragile. You should see it before it disappears.

Final Verdict: A poetic mind-bender of an exhibition. It will make you question everything and look damn good doing it.

Jaye Rhee: Fragile Terrain

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Jaye Rhee: Fragile Terrain

Through Apr 05, 2025

weekly on Wednesday, Thursday, Friday, Saturday

From: 11:00 AM to 5:00 PM

The intersection of digital technology and environmental consciousness materializes in a striking installation that transforms recycled paper into an immersive coastal landscape. Fragile Terrain, a newly commissioned multimedia exhibition by international artist Jaye Rhee, opens at Locust Projects with a Meet the Artist Reception on Thursday, February 13, from 7-9 p.m., and runs through April 5.

The 2,800-square-foot Main Gallery becomes home to a meticulously crafted sculptural environment featuring 700 pixelated paper cubes and 200 rounded paper objects. This handcrafted installation, constructed entirely from custom-printed recycled materials, creates an abstracted vision of Miami’s iconic oceanfront landscape while challenging viewers to consider the relationship between digital representation and natural reality.

Drawing parallels to 19th-century romantic landscape painting, Rhee’s work explores humanity’s complex relationship with both nature and technology. The installation raises questions about how digital simulacra influence our sense of identity and connection to the environment, while acknowledging the environmental impact of the very technology it references.

Jaye Rhee is an interdisciplinary artist whose work examines the complex relationships between real and constructed environments, with a particular focus on how visual culture mediates identity, memory and perception. Born in Seoul, South Korea, Rhee now lives and works in New York. She received both her BFA and MFA from the School of the Art Institute of Chicago.

Her diverse practice, encompassing video, photography and performance, has been showcased at prominent institutions worldwide, including Buffalo AKG Art Museum, Norton Museum of Art, Queens Museum, The Bronx Museum of the Arts, Mori Art Museum in Tokyo, Seoul Museum of Modern Art and La Triennale di Milano. Rhee’s contributions to contemporary art have been recognized through numerous awards, including the Doosan Yonkang Art Award, Franklin Furnace Fund and the Seoul Museum of Art Young Artist Grant.

LOCUST PROJECTS

297 NE 67th St, Miami, FL 33138

t. (305) 576-8570

[email protected]

Crossroads: Rubem Valentim’s 1960s

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Crossroads: Rubem Valentim’s 1960s

Nov 21, 2024 – Apr 6, 2025

Crossroads: Rubem Valentim’s 1960s

Ground Floor / Dr. Shulamit Katzman Gallery
Ground Floor / Kadre Family Gallery

Explore the works of Afro-Brazilian painter Rubem Valentim at Crossroads: Rubem Valentim’s 1960s

ICA Miami presents the first US museum exhibition of the late Afro-Brazilian painter Rubem Valentim (b. 1922, Salvador, Brazil; d. 1991, São Paulo). A singular voice in modernist painting and geometric abstraction, Valentim explored the medium’s formal concerns and social resonances across cultures and spiritual practices. This exhibition focuses on works Valentim produced in the 1960s, and the transformation of his work and thinking during this time.

Valentim split the decade between Brazil, which was then poised between rapid industrialization and military dictatorship, and Europe, where he first came upon the African art and Third World politics that would influence his painting practice. Having moved from his native Salvador, Bahia, to Rio at the end of the previous decade, in the 1960s, Valentim produced crisp paintings, characterized by rational form and symmetrical composition. Like the most progressive artworks produced in Brazil at the time, such as the paintings of Waldemar Cordeiro and the photographic experiments of Geraldo de Barros, Valentim’s paintings of this period are characterized by compositional clarity and easy communicability, and concerned with offering tools to a quickly urbanizing population to better function with new systems and velocities of communication, new technologies, and new ways of living in modernizing––if still quite segregated and economically uneven––cities.

From 1963 to 1966, Valentim lived in Europe. Although he settled for most of this time in Rome, where he held his first exhibition outside Brazil, he also visited other cities. In London, he saw African sculptures for the first time in person. The impact of this encounter is registered in the paintings of this period: works that retain the sharp lines and shallow pictorial spaces of geometric abstraction, but in which generic forms become shapes that allude to totems, objects used in worship ceremonies, fragments of temple architecture, and to signs, such as axes and arrows, associated with Afro-Brazilian deities. Valentim’s sojourn abroad culminated with his participation in the First World Festival of Negro Arts held in Dakar, Senegal, in 1966.

In 1967, upon returning to live in Brasilia, the country’s new modern capital, Valentim began a radical series of works titled “Emblems.” Produced in shallow bas-relief, these works extend into the physical space of the viewer, rejecting any remaining illusionistic possibility that the picture plane offers. They also further reduce Valntim’s palette, often employing only a single color over a pristine white background. While still using abstracted geometric forms, Valentim searched to deepen his connection to the art of Afro-Brazilian religious practice, and create paintings as a technology to interpret cosmological meaning. In the process of embodying this new task, the paintings grow increasingly ideographic, whereby sign and meaning fuse and representation itself is troubled.

Valentim’s work can be found in the collections of the Museum of Modern Art, New York; Museum of Fine Arts, Boston; Pinacoteca do Estado de São Paulo; Museu de Arte Moderna do Rio de Janeiro; Museu de Arte Moderna da Bahia; Museu de Arte de Brasília; Museu de Arte de São Paulo (MASP); Museu Afro Brasil, São Paulo; and the Museum of Fine Arts, Houston. His work has been exhibited at the Venice Biennale and the São Paulo Biennial. In 2019, he was the subject of a major retrospective exhibition, “ Rubem Valentim: Afro-Atlantic Constructions,” at MASP.

“Crossroads: Rubem Valentim’s 1960s” is organized by ICA Miami and curated by Gean Moreno, Director of the Art + Research Center at ICA Miami.

Institute of Contemporary Art, Miami (ICA)

61 NE 41st St.
Miami, FL 33137

Keiichi Tanaami: Memory Collage

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Keiichi Tanaami: Memory Collage

Through Mar 30, 2025

weekly on Sunday, Wednesday, Thursday, Friday, Saturday

From: 11:00 AM to 6:00 PM

Keiichi Tanaami: Memory Collage

Special Exhibition / 2nd Floor

The Institute of Contemporary Art, Miami, presents “Keiichi Tanaami: Memory Collage,” the artist’s first US solo museum exhibition. Keiichi Tanaami (1936-2024, Tokyo) has been a pioneering figure in Japanese and global Pop art for seven decades, creating magnificently immersive works across media in order to consider American and Japanese culture in the post-war period. Tanaami anticipated the crossover of popular culture and fine art, and through his connections to design has taken a radical and critical approach to how images of desire and violence transform society. Works included in this exhibition, produced between 1965 and 2024, track the artist’s use of collage to express the complex media landscape of our time.

Tanaami’s life and work are deeply informed by his upbringing in Japan, the trauma of the Second World War, and the country’s postwar reconstitution. Although the war had forced Tanaami and his mother to flee to the countryside in 1943, the massive United States air raids on Tokyo at the end of the conflict, as well as his experience in air raid shelters, had immense impact on the then-nine-year-old boy and continue to haunt his imagination. Tanaami’s hallucinatory works brim with American airplanes, search lights, monsters real and imagined, and fleeing masses. Sexual images permeate his works across decades, as do synthetic colors; Tanaami records popular culture commercializing desire in order to suppress the devastation of war. Tanaami graduated from the Musashino Art University, Kodaira, Japan, with a degree in graphic design in 1960. He forged a successful career in design and advertising, working as the first art director of Japanese Playboy and creating record covers for Jefferson Airplane and the Monkees, which contributed to the introduction of psychedelic culture in Japan.

During the 1960s, Taanami’s artistic practice frequently took the form of exuberant collages overflowing with clippings from international magazines. These dense collages are fascinating indexes of postwar visual culture, drawing from Western and Japanese news sources, commercial forms, and chapbooks. Tanaami would also elaborate on these fantastic sets of images through engagingly musical, surreal, and psychedelic animations that today are classics of avant-garde film.

Combining disparate media, Tanaami creates worlds that explore how war distorts perception through fragmentation, nightmares, and hallucinatory visions. During the 1970s, Tanaami’s iconic paintings combine idyllic landscapes with advertising, erotic imagery and anti-war slogans. Over subsequent decades, Tanaami would continually expand these worlds, quoting manga, theater and increasingly art history, from sources as varied as the sixteenth-century French School of Fontainebleau and Japanese woodblock (ukiyo-e). In recent years the artist has explored the role of the artist in visual culture through his Pleasure of Picasso (2020–) series, which make playful and technical use of appropriation and repetition while considering the flattening of social and commercial art and history today.

Additionally, the exhibition concisely surveys Tanaami’s recent work, a period of great productivity and experimentation for the artist. In epically large-scale painting and complex moving image, the artist has deployed technology to scale his kaleidoscopic visions. Through these radically produced, digitally printed and visually saturated paintings, Tanaami reflects on a contemporary regime of pervasive images, and the ever-present specter of history.

“Keiichi Tanaami: Memory Collage” is organized by ICA Miami and curated by Alex Gartenfeld, Irma and Norman Braman Artistic Director, and Gean Moreno, Director of the Art + Research Center at ICA Miami, with the assistance of Donna Honarpisheh, Associate Curator of the Art + Research Center at ICA Miami.

Institute of Contemporary Art, Miami (ICA)

61 NE 41st St.
Miami, FL 33137

iWitness @ The Betsy: Kilombo

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iWitness @ The Betsy: Kilombo

Through Mar 30, 2025

From: 07:00 PM to 09:00 PM

Join iWitness and The Betsy Hotel for the launch of Kilombo, an inspiring exhibition of documentary photography by award-winning photographer and visual anthropologist Maria Daniel Balcazar. Opening December 2, 2024, at The Betsy Hotel, Kilombo is a powerful tribute to the resilience and vibrancy of the African legacy in Brazil, captured through stunning large-scale images.

This exhibition marks the debut of iWitness @ The Betsy, a dynamic and ongoing collaboration that merges art, hospitality, and education. This exciting initiative is the result of a partnership between iWitness: IPC Institute of Visual Journalism, The Betsy Hotel, and the Wolfsonian Public Humanities Lab. Together, they aim to spark meaningful conversations about democracy, justice, and the vital role cultural traditions play in shaping identity.

Don’t miss the chance to witness the beginning of this powerful collaboration and celebrate the enduring influence of culture and heritage through the lens of documentary photography.

Art of Black Miami

The Betsy – South Beach

1440 Ocean Drive
Miami Beach, FL 33139

(305) 333-5142

Toll Free: 844-539-2840

[email protected]

Gustavo Nazareno: Afro-Latin Baroque

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Opera Gallery_Gustavo Nazareno, Iku reading a poem for a pink sky, 2024

Opera Gallery Miami

Gustavo Nazareno: Afro-Latin Baroque

Through Mar 29, 2025

Mon-Sat : 11 AM – 8 PM | Sun: noon – 6 PM

Brazilian artist Gustavo Nazareno explores the rich intersection of cultural traditions through his compelling paintings that blend historical and contemporary influences. Gustavo Nazareno: Afro-Latin Baroque marks his first solo exhibition in the United States and will be on display at Opera Gallery from March 6-29.

This exhibition features 16 new paintings that delve into the intertwined legacies of faith, art and resilience within Afro-Brazilian and Latin American traditions. Running alongside his Bará charcoal drawing exhibition in Bal Harbour, the collection showcases Nazareno’s engagement with cultural syncretism and spirituality.

Rooted in the Afro-Brazilian artistic heritage of Minas Gerais, Nazareno’s work bridges the visual traditions of Brazilian Baroque masters with the spiritual aesthetics of Candomblé and Santería. His paintings employ chiaroscuro techniques reminiscent of Caravaggio while incorporating elements from contemporary fashion photography, creating compositions that feel both timeless and relevant.

The artist’s figures exist beyond traditional constraints, embodying an ethereal presence that blurs boundaries between the mythical and real. Through this body of work, Nazareno pays homage to the intertwined artistic legacies of Brazil and Cuba—lands shaped by resilience, faith and artistic expression.

By reinterpreting Baroque aesthetics through the lens of Afro-Brazilian spirituality, Nazareno invites viewers into a space of reflection and reimagined histories, continuing to push the boundaries of contemporary painting while engaging with historical traditions.

Videography © Gabriel Volpi

Opera Gallery Miami is pleased to present ‘Afro-Latin Baroque,’ a solo exhibition by Brazilian artist Gustavo Nazareno, marking his first solo presentation in the United States. Featuring 16 new paintings, this exhibition explores the intertwined legacies of faith, art, and resilience within Afro-Brazilian and Latin American traditions. Running alongside ‘Bará’ in Bal Harbour composed of charcoal drawings, ‘Afro-Latin Baroque’ showcases Nazareno’s deep engagement with cultural syncretism, spirituality, and the enduring power of artistic expression.

Nazareno’s work is rooted in the vibrant Afro-Brazilian artistic heritage of Minas Gerais and its complex relationship with Catholic iconography. Through a contemporary lens, he bridges the visual traditions of Brazilian Baroque masters such as Aleijadinho and Mestre Valentim with the spiritual aesthetics of Candomblé and Santería, creating compositions that feel both timeless and urgent. His paintings evoke the grandeur of Baroque theatricality, while embracing the ritualistic essence of Afro-Latin religious practices, forging a dialogue between historical legacies and contemporary identity.

In ‘Afro-Latin Baroque,’ Nazareno continues his exploration of duality—sacred and profane, light and shadow, movement and stillness. His figures resist fixed identities, existing beyond traditional gender or temporal constraints, embodying an ethereal presence that is both ghostly and divine. Drawing from the chiaroscuro techniques of Caravaggio and the expressive depth of contemporary fashion photography, his works blur the boundaries between the mythical and the real, evoking a sense of spiritual transcendence.

Speaking on the exhibition, Nazareno reflected, “This body of work is an homage to the intertwined legacies of Brazil and Cuba, two lands shaped by resilience, faith, and artistic brilliance. Through ‘Afro-Latin Baroque,’ I seek to explore the sacred convergence of Catholicism and Afro-Brazilian traditions, where the grandeur of Baroque art meets the vibrant spiritual essence of Candomblé and Santería.”

Through ‘Afro-Latin Baroque,’ Gustavo Nazareno continues to push the boundaries of contemporary painting, engaging with historical traditions while asserting a bold and deeply personal artistic vision. By reinterpreting Baroque aesthetics through the lens of Afro-Brazilian spirituality, he invites viewers into a space of reflection, reverence, and reimagined histories.

Opera Gallery Miami

151 NE 41st St., Suite 131
Miami, FL 33137

(305) 868-3337

[email protected]

Celebrating Art, Beauty and Cultural Legacy

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Celebrating Art, Beauty and Cultural Legacy

Through Mar 23, 2025

Art, beauty and cultural resilience intertwine in this compelling multi-exhibition showcase. The Marshall L. Davis, Sr. African Heritage Cultural Arts Center presents Celebrating Art, Beauty and Cultural Legacy from December 1 through March 23.

The exhibition features three distinct installations. Margarette Joyner’s A Legacy of Elegance displays twelve colonial-era costumes that blend African textiles with 19th-century fashion, offering a reimagined perspective on historical high-society garments. Black Beauty as an Act of Resistance explores the significance of African-descended women’s beauty rituals through a recreated 1930s back-porch hair shop, highlighting the contributions of David and Laurel Julius, founders of the Sunlight School of Beauty Culture. Laurel Julius, who worked as a stylist for Madame CJ Walker, later established beauty schools with her husband in Alabama and Jamaica.

The third component, Double Exposure, showcases the work of A.J. Brown, lead singer of Third World Band. His acrylic paintings span various styles including portraiture, abstraction, landscape and still life, drawing inspiration from American, Jamaican, Ethiopian and Caribbean diaspora cultural traditions. Brown’s artistic vision combines his musical background with visual expressions of nature and cultural heritage.

Marshall L. Davis, Sr. African Heritage Cultural Arts Center

6161 NW 22nd Ave.
Miami, FL 33142

Drone Art Show Miami

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Drone Art Show Miami

A Mesmerizing Fusion of Music and Technology: Drone Art Show Miami

Attending the Drone Art Show Miami at Miramar Regional Park was magical. This event masterfully blended the elegance of classical music with the cutting-edge spectacle of a choreographed drone display, transforming the night sky into a breathtaking, luminous canvas.

The atmosphere was enchanting from the moment the show began at 8 PM. Under a sky illuminated by candlelight, a talented string quartet performed classical masterpieces with precision and emotion, setting the perfect tone for the night. Just when the audience was lost in the beauty of the music, the drone art show began, turning the sky into a dynamic, ever-changing work of art. The synchronization between the drones and the music was impeccable—each light formation moving harmoniously with the melodies, creating a truly immersive experience.

The Miramar Regional Park provided an excellent setting for this open-air event, allowing guests to enjoy the spectacle without obstruction. The ADA-compliant venue ensured accessibility for all attendees, and while parking was available at an additional cost, arriving early was key to securing a good spot. The event organizers ensured everything ran smoothly, from door openings 90 minutes before the strict late-entry policy, which helped maintain the immersive experience for all.

At 65 minutes, the show was perfect—long enough to fully appreciate the artistry yet brief enough to leave the audience wanting more. The balance between music, technology, and visual storytelling was mesmerizing. It was an experience that felt both futuristic and timeless, proving that art, in all its forms, continues to evolve and inspire.

For anyone looking for a one-of-a-kind cultural experience, the Drone Art Show Miami is an absolute must-see. Whether you’re a fan of classical music, innovative technology, or simply looking for a unique night out, this event delivers an unforgettable evening under the stars.

Final Verdict: 5/5 – A stunning fusion of music, light, and innovation.

Drone Art Show Location in Miami

Miramar Regional Park

16801 Miramar Pkwy, Miramar, FL 33027, United States

Dates: April 4 and 5
Time: Show starts at 8 PM. Doors open 90 mins prior to the start time, and we encourage you to arrive early as late entry is not permitted.
Duration: 65 minutes approx.
Location: Miramar Regional Park
Parking: Available at an additional cost. Parking will open around 6 PM.
Accessibility: The venue is ADA compliant
Age requirement: 8+

A Fascinating and Eye-Opening Read on a Forgotten Modernist

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A Fascinating and Eye-Opening Read on a Forgotten Modernist

Reviews: Marlow Moss (Modern Women Artists) by Lucy Howarth

As someone who loves art and is always eager to learn about artists beyond the usual canon, I find Lucy Howarth’s Marlow Moss (Modern Women Artists) fascinating. I had heard of Piet Mondrian and the De Stijl movement, but I had no idea how influential Marlow Moss was in shaping geometric abstraction. This book completely changed my perspective on modernist art and the overlooked role of women in its development.

Howarth does an excellent job of bringing Moss’s life and work to light. The book is well-researched and provides a compelling narrative of an artist who challenged artistic conventions and defied societal norms. I was particularly struck by Moss’s introduction of the double line—a technique Mondrian later adopted—which made me realize how often women’s contributions have been downplayed or erased from history.

What I appreciated most was how accessible and engaging the writing was. While it’s clear that Howarth is a scholar, she doesn’t overwhelm the reader with overly technical analysis. Instead, she presents Moss’s work in a way that makes you appreciate its significance, even if you’re not an art historian. The book is also beautifully illustrated with images of Moss’s paintings and sculptures, making it easy to see her unique vision and how it evolved.

Reading this book left me inspired but also frustrated at how little recognition Moss has received compared to her male counterparts. I wondered how many other women artists have been similarly overlooked. Marlow Moss (Modern Women Artists) is an important and necessary book, not just for those interested in modern art but for anyone who wants to understand the full story of art history.

I highly recommend this book to art lovers, students, and anyone who enjoys discovering hidden stories. It’s a must-read for those who appreciate modernism and want to explore beyond the usual names. Marlow Moss deserves to be known, and thanks to this book, she finally gets the attention she has long been denied.

Publisher ‏ : ‎ Eiderdown Books (September 9, 2019)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 64 pages
ISBN-10 ‏ : ‎ 1916041620
ISBN-13 ‏ : ‎ 978-1916041622
Item Weight ‏ : ‎ 2.31 pounds
Dimensions ‏ : ‎ 5.08 x 0.43 x 7.8 inches

Art Miami MagazineArt Miami Magazine

Art Miami MagazineArt Miami Magazine

Curator Talks and Tours: Gyula Kosice’s “Intergalactic”

Jaye Rhee’s Fragile Terrain Is a Pixelated Dreamscape With a Dose of Existential Dread

Editor review

Jaye Rhee: Fragile Terrain

Through Apr 05, 2025

From: 11:00 AM to 5:00 PM

Crossroads: Rubem Valentim’s 1960s

Explore the works of Afro-Brazilian painter Rubem Valentim at Crossroads: Rubem Valentim’s 1960s

Institute of Contemporary Art, Miami (ICA)

Keiichi Tanaami: Memory Collage

Through Mar 30, 2025

From: 11:00 AM to 6:00 PM

Institute of Contemporary Art, Miami (ICA)

iWitness @ The Betsy: Kilombo

Through Mar 30, 2025

From: 07:00 PM to 09:00 PM

The Betsy – South Beach

Opera Gallery Miami

Gustavo Nazareno: Afro-Latin Baroque

Through Mar 29, 2025

Mon-Sat : 11 AM – 8 PM | Sun: noon – 6 PM

Videography © Gabriel Volpi

Opera Gallery Miami

Celebrating Art, Beauty and Cultural Legacy

Through Mar 23, 2025

Marshall L. Davis, Sr. African Heritage Cultural Arts Center

Drone Art Show Miami

A Mesmerizing Fusion of Music and Technology: Drone Art Show Miami

Drone Art Show Location in Miami

A Fascinating and Eye-Opening Read on a Forgotten Modernist

Reviews: Marlow Moss (Modern Women Artists) by Lucy Howarth

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**Jaye Rhee’s Fragile Terrain Is a Pixelated Dreamscape With a Dose of Existential Dread**