In Dialogue With ColorMid-20th Century to Now

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Opera Gallery_Roy Lichtenstein, Apple, Grapes, Grapefruit — Roy Lichtenstein, Apple, Grapes, Grapefruit, 1974, Acrylic, oil and graphite pencil on canvas, 40.2 x 54 x 1.1 in | 102.2 x 137.2 x 2.8 cm

In Dialogue With Color
Mid-20th Century to Now

November 30, 2025 – January 5, 2026 | Miami

Opera Gallery Miami is pleased to present In Dialogue with Color: Mid-20th Century to Now, an exhibition exploring the power of color in modern and contemporary art. Spanning eight decades, the exhibition showcases the infinite variety of artists’ use of color and how it shapes perception and meaning.

Curated chromatically—Green, Blue, Red, Black & White, Pink, and Orange—the exhibition presents works ranging from intimate portraits to monumental abstractions. Each piece invites viewers to reconsider how color functions not only as a visual element but also as a conceptual and emotional vehicle.

Exhibition Highlights

Highlights from the exhibition include:

Marc Chagall, L’âne vert (1978)
Deep blues evoke mysticism and poetic symbolism, characteristic of Chagall’s visionary language.
Keith Haring, Untitled (1984)
Dominated by vibrant neon orange, the work reflects New York City’s urban energy and the pulse of 1980s street culture.
Yayoi Kusama, Fire (1988)
An omnipresent red anchors the work’s visual impact and intensity, emblematic of Kusama’s hypnotic and obsessive use of pattern and color.
Feng Xiao-Min, Composition No. 10.6.24 (2024)
A serene composition where subtle gradations of pink create a meditative sense of space.
Claude Monet, Les Bords de l’Epte à Giverny (1887)
Though painted in the 19th century, this landscape is a fitting addition to the exhibition. Monet’s rich yet delicate palette, dominated by green, captures the ephemeral beauty of changing light and underscores the Impressionist master’s profound influence on 20th-century art.

The exhibition also considers the power of color through contrast and duality, particularly black and white. Pierre Soulages uses this combination to explore black’s capacity to amplify light and construct space, as seen in Peinture 202 x 143 cm (1967). Amoako Boafo’s Embrace (2023)—depicting two Black figures on a stark white ground—approaches color through portraiture as a statement of cultural identity and pride.

“With this exhibition, we wanted to explore the artist’s engagement with color as a way to symbolize meaning, convey identity, and provoke thought,” says Dan Benchetrit, Director of Opera Gallery Miami. “The mediums and subject matter are diverse, but at its core, this exhibition explores the ways artists use color.”

Spanning figurative painting to abstract sculpture, In Dialogue with Color: Mid-20th Century to Now demonstrates how artists across eras and geographies continually expand the expressive and philosophical possibilities of color.

Dates & Location

In Dialogue with Color: Mid-20th Century to Now
November 30, 2025 – January 5, 2026

Opera Gallery Miami
151 NE 41st Street, Suite 131
Miami, Florida 33137
📧 [email protected]
📞 +1 305 868 3337

Hours:
Mon–Sat: 11 AM – 8 PM
Sun: 12 PM – 6 PM

More information: operagallery.com

Artists

Artists featured in the exhibition include:
Karel Appel, Ron Arad, Pablo Atchugarry, BANKSY, Georg Baselitz, Amoako Boafo, Mel Bochner, Fernando Botero, André Brasilier, Bernard Buffet, Alexander Calder, Marc Chagall, Cho Sung-Hee, Niki de Saint Phalle, Nicolas de Staël, Thomas Dillon, Feng Xiao-Min, Lucio Fontana, Sam Francis, Juan Genovés, Alfred Haberpointner, Keith Haring, Philippe Hiquily, Robert Indiana, Anish Kapoor, Alex Katz, Yves Klein, Willem de Kooning, Yayoi Kusama, Fernand Léger, Roy Lichtenstein, Marcello Lo Giudice, Tomokazu Matsuyama, Claude Monet, Pieter Obels, Julian Opie, Julien Rubat, Ed Ruscha, Richard Serra, Kazuo Shiraga, Pierre Soulages, Frank Stella, Manolo Valdés, Joana Vasconcelos, Andy Warhol, and Tom Wesselmann.

In Tandem with Art Miami

In conjunction with the exhibition, Opera Gallery will also be present at Art Miami, which runs from December 2–7, 2025, at One Herald Plaza (NE 14th Street & Biscayne Bay, Miami, FL 33132).

About Opera Gallery

Founded in Singapore in 1994, Opera Gallery has built a global network of galleries with locations in London, Paris, New York, Geneva, Madrid, Dubai, and Miami, establishing itself as one of the leading forces in the international art market.

Headed by Gilles Dyan, Chairman and Founder, Opera Gallery specializes in modern, post-war, and contemporary art. The gallery represents emerging international 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 dynamic, innovative, and diverse expressions of modern and contemporary art through ambitious exhibition programming and collaborations with private collections and major public institutions. Opera Gallery Miami is led by Dan Benchetrit

Detail of Anish Kapoor, Untitled, 2012, fiberglass and paint, 56 x 56 x 47.6 in | 142.2 x 142.2 x 121cm

Maestro Marturet at THE MOORE

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Eduardo Marturet
Photo credit: Rafael Montilla

Maestro Marturet at THE MOORE

Maestro Marturet and his wife Athina at THE MOORE for the first event in the musical season with the Steinway and Sons Spirio at THE MOORE. Maestro Eduardo Marturet, Music Director of The Miami Symphony Orchestra, Steinway Artist and Cultural Ambassador of The Moore Club, will be joined by a group of guest artists for a performance that brings the magic of music to life. Expect an evening that lifts your mind and spirit as you sit back with a drink, enjoy food from the club and settle into the rhythm of the night.

Event Details:

November 21, 2025

8:00 PM – 10:00 PM EST

THE MOORE 4040 NE 2nd Ave, Miami, FL 33137

RSVP by replying to this email or emailing [email protected]

Enjoy another MISO experience!

dc art foundation

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dc art foundation tiene el placer de invitarlos a un coctel y conversación con nuestra actual artista en residencia, Sonia Navarro, y la curadora invitada Cristina Vives, el sábado 29 de noviembre de 2025, de 6:00 p. m. a 9:00 p. m.

Kicking off Miami Art Week, this event will showcase a selection of works created by Sonia during her residency at dc foundation, along with a presentation of her previous installations, conducted by Cristina Vives. Cristina Vives is a curator, researcher, and art critic. She has been a two-time fellow of the J. Paul Getty Center (Los Angeles) and is the founder of the independent Estudio Figueroa-Vives in Havana. She was the curator of the retrospective traveling exhibition of Belkis Ayón in the US, presented at the Fowler Art Museum (UCLA), El Museo del Barrio (New York), Chicago Cultural Center, Museum of Contemporary Art Houston, among others, and the Museo Reina Sofía (Madrid). She has lectured at Fundación Mapfre (Barcelona), the Ludwig Forum für Internationale Kunst (Germany), PhotoEspaña (Madrid), and the Museo Malba (Buenos Aires).

She is co-author of the book Memoria: Artes Visuales Cubanas del Siglo XX and has written monographs and essays on artists like Belkis Ayón, Flavio Garciandía, Alberto Korda, José A. Figueroa, Alejandro Campins, Tania Bruguera and Alexandre Arrechea. She currently researches and promotes the work of international contemporary artists, with an emphasis on the current Spanish and Latin American art scene.

Para dar inicio a la Semana del Arte de Miami, este evento presentará una selección de obras creadas por Sonia durante su residencia en dc foundation, junto con una presentación sobre sus instalaciones anteriores, dirigida por Cristina Vives. Cristina Vives es curadora, investigadora y crítica de arte. Ha sido becaria en dos ocasiones del J. Paul Getty Center (Los Ángeles) y es fundadora del estudio independiente Estudio Figueroa-Vives en La Habana. Fue curadora de la exposición retrospectiva itinerante de Belkis Ayón en Estados Unidos, presentada en el Fowler Art Museum (UCLA), El Museo del Barrio (Nueva York), el Chicago Cultural Center, el Museum of Contemporary Art Houston, entre otros, así como en el Museo Reina Sofía (Madrid). Ha impartido conferencias en instituciones como la Fundación Mapfre (Barcelona), el Ludwig Forum für Internationale Kunst (Alemania), PhotoEspaña (Madrid) y el Museo Malba (Buenos Aires). Es coautora del libro Memoria: Artes Visuales Cubanas del Siglo XX y autora de monografías y ensayos sobre los artistas Belkis Ayón, Flavio Garciandía, Alberto Korda, José A. Figueroa, Alejandro Campins, Tania Bruguera y Alexandre Arrechea. En la actualidad investiga y promueve la obra de artistas contemporáneos internacionales con énfasis en la escena actual del arte español y latinoamericano.

Sonia Navarro’s work transcends the boundaries of painting and sculpture, expanding into immersive installations that intertwine memory, tradition, and identity. Her practice explores the dialogue between craftsmanship and contemporary art, reactivating ancestral techniques such as weaving, embroidery, and the use of esparto grass as both aesthetic and political gestures. Navarro has been recognized with the 2024 Premio Alfonso X de Pintura y Escultura and the 2023 BMW Painting Award, presented to her by Queen Sofía of Spain. She has also been the recipient of prestigious residencies such as the Real Academia de España en Roma and the Colegio de España at the Cité Internationale Universitaire de Paris. Her works are part of major public and private collections, including the Museo Nacional Centro de Arte Reina Sofía (Madrid), the IVAM, Institut Valencià d’Art Modern, and the Royal Collection of the Netherlands, among others.

Sonia Navarro desarrolla un trabajo que trasciende los límites entre la pintura y la escultura, expandiéndose hacia instalaciones inmersivas que entrelazan memoria, tradición e identidad. Su práctica explora el diálogo entre la artesanía y el arte contemporáneo, reactivando técnicas ancestrales como el tejido, el bordado y el uso del esparto como gestos tanto estéticos como políticos. Su destacada trayectoria ha sido reconocida con varios premios, entre ellos el Premio Alfonso X de Pintura y Escultura 2024 y el Premio BMW de Pintura 2023, entregado por Su Majestad la Reina Sofía de España. También ha sido seleccionada para prestigiosas residencias como la Real Academia de España en Roma y el Colegio de España en la Cité Internationale Universitaire de Paris. Sus obras forman parte de importantes colecciones públicas y privadas, entre ellas el Museo Nacional Centro de Arte Reina Sofía (Madrid), el IVAM – Institut Valencià d’Art Modern, y la Royal Collection of the Netherlands, entre otras.

SONIA NAVARRO AND CRISTINA VIVES COCKTAIL AND TALKSATURDAY, NOVEMBER 29, 2025
6:00 P.M. – 9:00 P.M.
ARTIST TALK BEGINS AT 7:00 P.M. DC ART FOUNDATION
4255 SW 7TH ST, MIAMI, FL 33134
COMPLIMENTARY VALET PARKING

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Aqua Art Miami Announces 2025 Exhibitors List For Its 19th Edition
Returning to the Aqua Hotel from December 3-7, Aqua Art Miami will showcase works by young, emerging, and
mid-career artists from galleries worldwide.

MIAMI (October 30, 2025) – Aqua Art Miami has announced its diverse list of exhibitors for the 19th edition of the
fair at the Aqua Hotel in Miami Beach. The fair, which is known for presenting vibrant and noteworthy art programs
by international breakout artists, will feature works from over 30 global galleries from 6 countries. Aqua Art Miami
will kick off with a VIP Preview on Wednesday, December 3, before opening the exhibition rooms to the public
from Thursday, December 4, through Sunday, December 7, 2025.

“As we celebrate our 19th edition, Aqua remains a dynamic launchpad for discovery where collectors, curators, and
art lovers encounter fresh voices and acquire works that resonate long after Miami Art Week,” says Cordelia de
Freitas, Director of Aqua Art Miami. “This year, we’re deepening the experience with new curatorial pairings and
daily programming that spotlight the artists shaping contemporary culture.”

This year’s program features fresh works from over 30 global galleries from AFPA Gallery (Analog Film Photography
Association), Alida Anderson Art Projects, SIA New York Gallery, and FLY MIAMI ART, complemented by standout
rooms from LAAP – Latin American Art Pavilion, and SHIM Art Network. Aqua will also present a focused solo by
Dean Zeus Colman (Zeus Art) and highlight contemporary presentations from Vertical Gallery and MAZLISH
GALLERY.

In the center of Miami Beach on Collins Avenue, Aqua Art Miami transforms the intimate rooftop and sunlit
courtyard of the Aqua Hotel into a buzzing art district. The surrounding Art Deco curves and sun-washed colors give
the setting its signature Miami essence.

HOURS AND LOCATION:
Fair Hours:
VIP Preview: Wednesday, December 3rd: 3 p.m. – 10 p.m.
General Admission: Thursday, December 4th: noon – 9 p.m.; Friday, December 5th – Saturday, December 6th: 11
a.m. – 9 p.m.; Sunday, December 7th: 11 a.m. – 6 p.m.

Location:
Aqua Art Miami takes place inside the Aqua Hotel at 1530 Collins Avenue, Miami Beach, FL 33139.
Tickets are available for purchase at www.aquaartmiami.com/tickets.
Please note that tickets are exclusively available online and cannot be purchased onsite.

About Aqua Art Miami:
Now in its 19th year, Aqua Art Miami is the premier destination for art aficionados to procure works by young,
emerging, and mid-career artists during Miami Art Week. The energetic preview has become the destination for
influential collectors and art professionals, many of whom migrate from Aqua’s sister fairs, Art Miami and CONTEXT,
conveniently nestled between the Venetian Causeway and the MacArthur Causeway. Throughout the years, the fair
has continued to solidify itself as a unique art fair, consistently staying true to its signature relaxed yet energetic
vibe. A roster of well-respected international galleries annually showcases fresh artists’ works in the intimate
exhibition rooms, which open into the beautiful courtyard of the classic South Beach hotel just a few short blocks
from the Miami Beach Convention Center.

Aqua Art Miami features hundreds of artists from numerous galleries during Art Miami Week 2025

A

Leda Almar
Juan Andereggen
Mercedes Armella Spitalier
J Amado
Sergio Artola
Ale Arroyo
Camilla Ancilotto
Adam Augustyn

B

Walter Brown
Andrea Borga
Eddy Bogaert
Kyne Bernstorff
Leo Blanchard
Andria Beighton
Alix Born
Mikael Boudakian
Annette Back

C

Maria Emilia Cunliffe
Denise Cooperman
Luis Cabrera
Laura Catherwood
CRAITR
Tatyana Chaar
Francesco Cusumano
Lauren Jane Clancy
Marcela Collazos
Florencio Lennox Campello
Jennifer Cronin
CABNOV
RMBR CHARLES
Leonardo Cavalcante
Pablo Cano
Marta Cueter
Maria Chavez
Ashley Cole
Ian Cohen
Monica Czukerberg

D

Michiyoshi Deguchi
Demet Barlas Dayı
Natalia Davydova
Monica Diaz
Kristin Dills
AUUDI DORSEY
Vanesa de Posada
Melina Di Salvo
Patricia Daher
Maayan Dee

E

Natan Elkanovich
Marta Echazarreta
Andrea Justine Encina Lopez

F

Cecilia Freire
Flog
Sergio Farfán
Natalya Freeman
Scott Fisher
Aggie Foster
Vasilisa Forbes
Sheila Fraga
Jean-Pierre Fleury
Michelle Flores

G

Erol Gunduz
Marcus Glitteris
Micky Goldstein
Molly Goldfarb
Michael Gitter
Roman Gulman
Luis Gomez
Eva B. Gorson
Paola Ines Gutierrez
Alena Gojak

H

Namkyu Hwang
Emily Hamel
Xine Hann
Roscoe Hall
Peshi Haas

J

Dr. Jeon Sur
Blake Jones
MinJung Jang
Harmony Jones
Jamie Jones
Itamar Joseph

K

Monica Kline
Hyun Jung Kim
Tae D. Kim-James
Hak Kyun Kim
Bon Koo
Kyung Tae Kim
Jungwuk Kim
Elena Kuki
Kadja Klarreich-Giglio
Deborah Kruger
Dominic King
Mykhailo Krasnyk
Lilian Kebudi
Shye Klein
Shirah Klein

L

Vesna Longton
Jen Llewellyn
Troy Lee
Laura Llamosas
Claudia Leonelli
Stephen Lee
B. Jaya Lakshmi

M

Caterina Mejia
John Mazlish
Evelina Meltser
Alys Paola Maquet
B. Robert Moore
James Macdonell
Matthew Marcot
Allison McCrady
Vilina Malka
Tirza Menkes
Roger Mari

N

Raisa Nosova
Julia Noble
Francesco NEO
Shayan Nazarian
Shyama Nadimpalli
Dar-Ya Naomi

O

Alina Obukhova

P

Maria Petroff
Felisa Prieto
Kahyun Park
Christoph Pauschenwein
Alegria Polit
Oleksandr Pysanyi
Anjale Perrault
Kevin Perrault
Carla Pivonski / The Black & White Gallery
Zoey Parsons
Dario Posada
Joaquin Ponzinibbio
Uiyeong Park

Q

(No entries provided)

R

Melis Ragusin
Jorge Rodriguez-Gerada
Max Reinhard
Jorge Ivan Rojas
Brittney Reid
Joseph Renda Jr.
RASTER
Dubi Ronen
Julia Rivera
Sofia del Rivero

S

Soyoung Shin
Jinmin Sung
Egor Shokoladov
Sana Shaw
Delphine Sellem
Ayşen Saltan
A. J. Springer
Diego Sanchez
Mitchell Schorr
Carrie Swim
Todd Serlin
Karina Salazar
Mircza Seiler
Yurii Syvyrin
Nazar Symotyuk
Anatol Stepanenko
Andriy Sajenko-Verhun
Petro Starukh
Ornella Saada

T

Tuncay Topcu
Liv Telivuo
Erwin Timmers
Jerome Tiunayan
Valerio Trigo
Maria Titan
Nikita Tsoi

U

Zhanna Urodovskikh
Selen Uğur

V

Emel Vardar
Collin van der Sluijs
Véronique Vigneron
Katy Volikas
Mariano Venditti
Juan Carlos Valencia
Shiko Vun

W

Felton Weller
John-Herbert Wright
Alex Z. Wang
Rachel Weiswasser
Michael Wallner
Steve Wanna

X

(No entries provided)

Y

Tuğba Yazıcı
Facundo Yebne

Z

Dina Zakmane

SORRY I’M A LADY

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SORRY I’M A LADY

Nov 28 – Dec 31, 2025

A film by Jonathan Gonzalez featuring the paintings of Anna Vickers
On view November 28 – December 31, 2025
1212 Lincoln Road, Miami Beach

The Galbut Institute is pleased to present Sorry I’m A Lady, a film directed by Jonathan Gonzalez, with architecture and environments by Gonzalez and featuring the paintings of Anna Vickers. The film will be presented on the monumental, publicly facing video screen at the retail and cultural hub 1212 Lincoln Road on Miami Beach. The screen occupies the south façade of the building at the intersection of Alton Road and 16th Street, one of the city’s most active urban junctions. Sorry I’m A Lady will be shown exclusively on the screen from November 28 through December 31, 2025.

The title of the film is borrowed from Vickers’ seminal exhibition Sorry I’m A Lady, which took place at the Pavillon Davioud in Paris’s Jardin du Luxembourg in 2017— itself borrowing the title from the 1970s pop duet Baccara. The film features a broad selection of Vickers’ works made between 2004 and 2017.

The setting of the film is an idealized virtual museum digitally constructed by Gonzalez through close examination of Vickers’ paintings interrogating the female nude and its critique. This virtual museum is defined by immaculate minimalist architecture and immense, luminous galleries, forming the perfect embodiment of the contemporary art museum.

Perfection is also embedded in the historical category of the female nude—often interpreted by contemporary art institutions through the lens of critique. By exclusively displaying Vickers’ paintings of the nude in multiple corollaries with the film’s idealized galleries, Gonzalez brings institutional critique into focus. The critique of the nude melts into the critique of the institution, just as the paintings melt into their surrounding spaces as Gonzalez fades the camera from one gallery to the next.

Strikingly, institutional critique is inverted. Instead of using an art object that displaces the nude as a cipher for critique, Vickers’ reframed nudes become the catalyst for it. Rather than moving the art object outside the institution, Gonzalez reinstalls it within museum walls in exquisite display. And instead of closing off the institution—or leaving it behind when critique enters the public realm—Gonzalez brings the entire institution with him. Neither the art object nor the institution is dismantled; instead, both are depicted in states of curated perfection in direct interaction with the streets below.

This inversion is extended through a study of the grid—a motif recurring across the work’s architecture and display. The poured-in-place concrete wall supporting the 1212 Lincoln screen, the screen’s 1,500 LED modules, the curtain-wall glazing, the sawtooth roofs, and the gentle grate-like shadows falling diagonally across the figures all echo the rectilinear order of the modernist grid. These elements loosen the formal logic of the grid as a symbol of painting’s self-referential endgame through their dialogue with the pictorial forms of Vickers’ paintings. They draw attention to the self-referential nature of her figures, revealing new possibilities for painting through the most emblematic subject once displaced by the grid: the nude. The dazzling Miami Beach sun pours across the video screen, literally shedding light on this point.

The exterior landscaping expands these ideas. Zen gardens of fine sand contain bare, leafless trees—both upright and fallen. They suggest the cyclical nature of life, a theme core to Vickers’ exploration of new possibilities for the female nude after its “death” in postmodernism, and a way of thinking about a reborn, reframed art object presented on a gallery wall where both object and wall are publicly visible as a form of institutional critique.

Sorry I’m A Lady is produced by OOAI, with creative input from Anna Vickers and Michael J. Quiñones.

About the Artists

Jonathan Gonzalez

Jonathan Gonzalez is a Miami-based designer and artist. His work spans architecture, art, curation, and design. He is the founder of Office GA and OOAI (Office of Applied Ideas). His work has been widely exhibited in museums and galleries, including the Institute of Contemporary Art, Miami, Diverse Works, Guccivuitton, Tile Blush, Balice Hertling, Maison & Objet, Design Miami, and with Miami-Dade County Art in Public Places.
He holds a Master of Architecture from Columbia University’s Graduate School of Architecture, Planning and Preservation. Gonzalez grew up in Key West, Florida.

Anna Vickers

Anna Vickers is originally from London and is now based in Paris. She has exhibited internationally, with recent solo exhibitions at The Galbut Institute in Miami, Olivia Edwards Gallery in New York and Paris, and Tile Blush in Miami. Her paintings have also been included in group exhibitions at Triangle Space (Chelsea College of Arts, London), Camberwell Space (London), and at the Pavillon Davioud in the Jardin du Luxembourg, Paris.
She holds a PhD from University of the Arts London and a BA from the Slade School of Fine Art, where her 2002 degree show was featured on the front page of The Independent, one of the UK’s leading newspapers. In 2017, she coauthored the book Sorry I’m A Lady with artist Jason Galbut, with a second edition published in 2022.

The Galbut Institute was established in 2024 by Jason Galbut to display his body of work and works from his collection of paintings by the artist Anna Vickers. It is located in a warehouse in the Little River district of Miami, which also houses Galbut’s studio. The Institute seeks to provide an inspiring context in which to enjoy viewing art. It welcomes members of the public during opening hours and by appointment.

The Institute is open Saturdays 12-2pm and by appointment.=
email: [email protected]
255 NE 69th St. Unit D
Miami, FL 33138
+786-566-0542

Woody De Othello: coming forth by day

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Woody De Othello: coming forth by day

Exhibition Reimagines Domestic Forms
As Vessels of Ancestral Memory and Sacred Introspection

—On View Throughout Miami Art Week—

Pérez Art Museum Miami (PAMM) is thrilled to present artist Woody De Othello‘s first museum solo exhibition in his hometown, coming forth by day, on view throughout Miami Art Week, until June 28, 2026. The exhibition showcases an entirely new body of work featuring hand-built sculptures, mosaic wall works, and a large-scale bronze sculpture. In exploring the primordial relationship between body, earth, and spirit, the immersive installation incorporates grounding materials such as clay-painted walls and subtle herbal scents.

“Recognizing the artist’s personal ties to Miami, we are particularly delighted to host Woody De Othello’s first significant museum presentation and to share his striking sensibility with our audiences near and far,” said Franklin Sirmans, Sandra and Tony Tamer Director at PAMM. “The artist’s work is a powerful reminder of how organic materials in the present can have a deep resonance with vernacular and folk cultures throughout the world in different eras of time.”

Known for his distinctive anthropomorphic forms, Othello’s practice is rooted in animating the inanimate and infusing everyday domestic objects—such as fans, faucets, phones, and televisions—with emotional and spiritual charge. These assemblages and vessels are playful—often sprouting spindly legs, elongated arms, and outsized ears—yet also take on a quiet vitality, appearing to lean, rest, and embrace as if shaped by the weight of memory and emotion.

Installation view: Woody De Othello: coming forth by day, Pérez Art Museum Miami, 2025-26. Photo: Lazaro Llanes.

coming forth by day marks an evolution in Othello’s practice, deepening his engagement with diasporic spiritual traditions and metaphysical symbolism. The exhibition’s title references the ancient Egyptian funerary text “Egyptian Book of the Dead: The Book of Coming Forth by Day”—a guide for the soul’s passage through the afterlife. Othello invokes this mythology as a metaphor for transformation and renewal, constructing a sacred space of introspection, bridging the mundane with the spiritual, the earthly with the divine.

At the emotional apex of the exhibition stands a large-scale bronze sculpture of two embracing figures. Towering yet tender, the figures’ exaggerated proportions suggest the gravity of grief, longing, or surrender. one becomes two, two becomes one (2025) creates a culminating moment of communion and invites viewers into spaces of protection and collective emotional experience.

Surrounding the central sculpture, the gallery walls are painted in clay-colored hues and dotted with a constellation of wall-mounted ceramics and vibrantly glazed mosaics. These two-dimensional tableaux—framed in intricately carved wood—draw from Othello’s intuitive drawings, a medium he has embraced with great focus in recent years.

Across the gallery stands one of the show’s most striking elements: a freestanding wooden pyramid structure fitted with shelves that hold crystals, incense, and ceramic objects created by Othello. This altar-like installation channels a wide range of diasporic cosmologies, from Egyptian funerary architecture to Afro-Caribbean rituals and New Age mysticism. This culmination of works invites contemplation and conjures a liminal space between life, death, and rebirth—spiritual concepts that are deeply embedded in Othello’s sculptural vocabulary. Informed by his Haitian heritage and a deep engagement with African spiritual traditions, Othello treats clay not only as a medium but as a vessel for memory, breath, and becoming. His practice acknowledges the material’s ceremonial roots and positions each object as an agent of spiritual presence.

Installation view: Woody De Othello: coming forth by day, Pérez Art Museum Miami, 2025-26. Photo: Lazaro Llanes.

Presented with deep intentionality, coming forth by day offers more than an exhibition. It is an invitation into a space of quiet transformation and communion, where the ordinary becomes sacred, the familiar becomes metaphysical, and the act of looking becomes a form of care.

“Woody’s return to Miami for his first major solo exhibition is profoundly meaningful,” said PAMM Curator Jennifer Inacio. “coming forth by day transforms the gallery into a space of spiritual presence—where clay, bronze, and wood carry palpable emotional weight, and viewers are invited to slow down, reflect, and experience the sacred in the everyday. More than a presentation of objects, I hope visitors experience this exhibition as a ritual space where tenderness is honored, the material becomes metaphysical, and transformation quietly unfolds.”

Woody De Othello: coming forth by day is organized by Jennifer Inacio, PAMM Curator, with the support of Fabiana A. Sotillo, Curatorial Assistant. The exhibition is presented with lead support from The Andy Warhol Foundation for the Visual Arts and supporting sponsorship from Simi Ahuja and Kumar Mahadeva, and Goldman Sachs. Additional support from Wagner Foundation, Leslie and Greg Ferrero, and Rona and Jeff Citrin is gratefully acknowledged.

Following its debut at PAMM, the exhibition will travel to the Manetti Shrem Museum of Art at the University of California, Davis in the fall of 2026.

ABOUT WOODY DE OTHELLO
Woody De Othello (b. 1991, Miami; lives in Oakland) holds a Master of Fine Arts from the California College of Arts, San Francisco, and a Bachelor of Fine Arts from Florida Atlantic University. His work is in the permanent collections of the Whitney Museum of American Art; Pérez Art Museum Miami; ICA, Miami; SFMOMA, San Francisco; Seattle Art Museum; LACMA, Los Angeles; Museum of Fine Arts, Boston; Carnegie Museum of Art, Pittsburgh; San José Museum of Art, CA; John Michael Kohler Arts Center, Sheboygan, WI; and MAXXI National Museum of 21st Century Art, Rome, and many more. Othello has exhibited widely in group exhibitions at the Museum of Arts and Design, New York; SFMOMA, San Francisco; Hayward Gallery, London; The Met, New York; Smithsonian American Art Museum and Renwick Gallery, Washington D.C.; Whitney Museum of American Art, New York; Fabric Workshop, Philadelphia; FRONT International: Cleveland Triennial; 33rd Ljubljana Biennial, Slovenia; and Center for Craft in Asheville, NC, among others.

ABOUT PAMM
Pérez Art Museum Miami (PAMM), led by Franklin Sirmans, Sandra and Tony Tamer Director, promotes artistic expression and the exchange of ideas, advancing public knowledge and appreciation of art, architecture, and design, and reflecting the diverse community of its pivotal geographic location at the crossroads of the Americas. The 41-year-old South Florida institution, formerly known as Miami Art Museum (MAM), opened a new building, designed by world-renowned architects Herzog & de Meuron, on December 4, 2013, in Downtown Miami’s Maurice A. Ferré Park. The facility is a state-of-the-art model for sustainable museum design and progressive programming and features 200,000 square feet of indoor and outdoor program space with flexible galleries; shaded outdoor verandas; a waterfront restaurant and bar; a museum shop; and an education center with a library, media lab, and classroom spaces.###

Accredited by the American Alliance of Museums, Pérez Art Museum Miami (PAMM) is Sponsored in part by the State of Florida, Department of State, Division of Arts and Culture and the Florida Council on Arts and Culture. Support is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners. Additional support is provided by the City of Miami and the Miami OMNI Community Redevelopment Agency (OMNI CRA). Pérez Art Museum Miami is an accessible facility. All contents ©Pérez Art Museum Miami. All rights reserved.

OCEAN DRIVE IGNITES THE SEASON WITH NEW HOLIDAY LINEUP AND CULTURAL EXPERIENCES FOR ALL AGES

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Editorial

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Photos Courtesy of Ocean Drive Association — The Miami Beach Holiday Festival of Lights at the Betsy Hotel on Ocean Drive in Miami Beach on Dec. 23rd, 2023. (Photo by MagicalPhotos.com / Mitchell Zachs)

OCEAN DRIVE IGNITES THE SEASON WITH NEW HOLIDAY LINEUP AND CULTURAL EXPERIENCES FOR ALL AGES

Miami Beach’s Iconic Avenue to Become a Wonderland of Lights, Music and Art for the Holidays

The Ocean Drive Association invites locals and travelers to a dazzling wonderland of lights, music and festive energy by the beach to celebrate the holidays. Starting December 1, 2025, through January 31, 2026, the iconic palm-lined avenue will glow with holiday decor, twinkling light displays, public and private art installations, family-friendly experiences, and free musical performances featuring projection-mapping technology that reflects the city’s coastal charm and cultural vibrancy. Ocean Drive’s newly expanded holiday programming will bring together community partners, local artists and cultural organizations for an unforgettable winter spectacle. For easy access to all the experiences, visitors will be able to use Ocean Drive’s free, on-demand transportation service during the month of December.

Seasonal highlights include:

Miami Beach Holiday Festival of Lights – December 13-14 & 20-21

Presented by Miami Beach Classical Music Festival (MMF), this annual holiday spectacular will delight audiences of all ages with live orchestral performances; festive characters like Santa Claus, the Grinch and Elsa; and mesmerizing projection-mapping displays. The festival is free and open to the public, featuring performances outside The Betsy (1440 Ocean Drive) on December 13 at 6:15 p.m. and 7:15 p.m., followed by City of Miami Beach Holiday Extravaganza. Additional performances will take place on December 14, 20 and 21 at 6 p.m. and 7:30 p.m.

City of Miami Beach Holiday Extravaganza – December 13

Taking place in Lummus Park between 12th and 13th streets, the City of Miami Beach Holiday Extravaganza will light up the sky at 7 p.m. and 9 p.m. with cutting-edge aerial technology, creating dazzling, choreographed patterns above Miami Beach. This free event promises a one-of-a-kind visual experience.

Ocean Drive Promenade Music Series – Every Sunday in December

Presented by the Ocean Drive Association, with support from the City of Miami Beach and the Greater Miami Convention & Visitors Bureau (GMCVB), this free, weekly concert series invites visitors to enjoy live performances on the lawn at Lummus Park between 14th Street and 14th Place. Concerts begin at 5 p.m. on Sundays (with early start times at 4:30 p.m. on December 14 and 21). Bring a picnic blanket, lawn chair, or enjoy outdoor dining at one of the nearby local restaurants and enjoy enchanting evenings filled with jazz quartets, trios and other talented musicians.

No Vacancy – Public Art Projects – Through December 20

No Vacancy is a juried contemporary art competition presented across a selection of iconic Miami Beach hotels. Designed to spotlight and support local artistic talent, the program transforms hotel lobbies, courtyards and public-facing spaces into immersive, site-specific installations that blend visual art, architecture and storytelling. The annual initiative invites residents, visitors and art enthusiasts to explore Miami Beach through a curated cultural lens, turning hospitality spaces into pop-up galleries that celebrate creativity and community. Featured works include “A Soft Pixelation” by Andrea Myers at Avalon Hotel Miami (700 Ocean Drive) and “Portal to Niña” by LIZN’BOW at The Betsy (1440 Ocean Drive), along with many others around the city.

The Betsy Orb Installation – Through December 31

A highlight of Ocean Drive’s public art scene, “The Betsy Orb” is an egg-shaped architectural sculpture that bridges The Betsy’s two buildings. The illuminated piece adds to the festive atmosphere by creating a striking visual along the avenue. The Betsy is also part of the Miami Beach Culture Crawl.

New Year’s Eve Fireworks – December 31

Ring in the New Year with a spectacular fireworks display on the sands of Miami Beach by Lummus Park. This free, family-friendly celebration invites the community to gather along the shore for an unforgettable countdown to 2026.

New Year’s Day Orchestra Concert – January 1, 2026

Miami Beach Classical Music Festival will host a free orchestra concert at Lummus Park on New Year’s Day at 6 p.m. to ring in 2026.

100 Years of Art Deco: A World Celebration in Miami Beach – Through January 31, 2026

“100 Years of Art Deco: A World Celebration in Miami Beach” is an open-air exhibition at Galeria Ocean Drive that traces the global reach of the art deco design movement while highlighting Miami Beach’s signature tropical deco style. Featuring more than 100 images from around the world, the installation offers a visual journey through the evolution of art deco architecture and aesthetics. The exhibition also includes community-led cultural events celebrating the enduring art deco spirit.

During the first week of December, Ocean Drive will also come alive as it hosts multiple acclaimed art fairs. Some of the top events that will draw global artists, collectors and culture lovers to the city include:

SCOPE Art Show – December 2-7 at Lummus Park

Recognized as a premier platform for contemporary art, SCOPE Art Show brings together more than 90 exhibitors from over 20 countries. The fair showcases emerging and cutting-edge artistic talent, giving visitors a rare opportunity to engage with international contemporary works in an open-air, beachfront setting.

Untitled Art – December 3-7 at Lummus Park

Untitled Art is a curated international art fair focusing on artistic integrity and balance, featuring over 170 exhibitors from 34 countries. Visitors can view contemporary and modern works in a variety of media, interact with artists and gallery representatives, and participate in a global dialogue about creativity.

For more information on Ocean Drive’s holiday programming and citywide events, visit oceandrivemb.com.

About the Ocean Drive Association

The Ocean Drive Association is an organization committed to preserving, enhancing and promoting the cultural and historical legacy of Miami Beach’s most famous street, Ocean Drive. Founded to unite residents, businesses and property owners, the Ocean Drive Association works collaboratively with the City of Miami Beach and community partners to ensure the district remains a world-class destination that balances its tourism economy with the needs of its local community. Recognized globally for its art deco architecture, oceanfront beauty and rich social history, Ocean Drive represents the heart of Miami Beach’s identity. The association serves as a steward of that legacy, fostering initiatives that celebrate its heritage, support local business vitality, and maintain the area as a safe, clean and welcoming environment for all who live, work and visit here. For more information, visit oceandrivemb.com.

Highlights of Art Basel Miami Beach 2025

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Editorial

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ABMB22 Ambiance Photography James Jackman

Art Basel Miami Beach 2025: Where the Pulse of the Americas Meets the World Stage

The 23rd edition unites 283 leading galleries from 43 countries, foregrounding the voices, histories, and innovations that define the American art scene today — within a truly global conversation.

Art Basel Miami Beach returns to the Miami Beach Convention Center this December, platforming the most vital artistic currents of the Americas and beyond. Now in its 23rd edition, the fair presents 283 galleries, including 49 first-time participants, affirming its position as the premier meeting point for Modern and contemporary art in the Western Hemisphere. The show runs December 4–7, 2025, with Preview Days on December 3–4, and its Global Lead Partner is UBS. Tickets are available at artbasel.com/miami-beach/buy-tickets.

“Art Basel Miami Beach stands at the intersection of culture and the market — a platform where artistic vision and economic energy converge to define what comes next,” said Bridget Finn, Director, Art Basel Miami Beach. “Each edition responds to the urgency and ambition of its moment while laying groundwork for the future. In 2025, we bring together exceptional galleries, artists, and patrons in an environment defined by rigor, exchange, and possibility.”

As the premier fair of the Americas, Art Basel Miami Beach offers a panoramic view of the region’s artistic production within a global framework, underscoring the dialogue between North and South America and their shared histories of migration, innovation, and cultural cross-pollination — in conversation with Europe, Asia, Africa, and the Middle East. This year’s edition highlights Latinx, Indigenous, and diasporic practices and re-examines Modernism through a trans-hemispheric lens, from mid-century masters to contemporary voices remapping the canon.

“The 2025 edition foregrounds the multiplicity of American art — not as a single narrative but as a constellation of perspectives,” said Vincenzo de Bellis, Chief Artistic Officer and Global Director of Fairs, Art Basel. “From Indigenous modernisms to emergent diasporic practices and digital forms, the fair traces how artists throughout the Americas continue to reshape global artistic imagination.”

Across its core sectors — Galleries, Positions, Nova, and Survey — the fair presents Modern and contemporary work of the highest caliber, reflecting an expanded commitment to curatorial depth, geographic breadth, and historical rediscovery. Meridians returns as the curatorial epicenter under Yasmil Raymond with the theme The Shape of Time, and a revitalized Conversations program brings artists, collectors, and thinkers together for three days of live debate and visionary exchange — opening with a full day devoted to art and sport with celebrated athletes and featuring the return of daily Digital Dialogues.

Curated by Eli Scheinman, Art Basel’s Zero 10 debuts in Miami Beach as a new platform for art of the digital era, before expanding to select Art Basel fairs in 2026. Presented with the support of OpenSea, the initiative connects leading and next-generation artists, studios, galleries, and digital innovators with Art Basel’s global curatorial and market ecosystem. Featuring 12 international exhibitors in its inaugural edition, Zero 10 establishes a new benchmark for how digital art is exhibited, contextualized, and collected today.

The edition also marks the U.S. premiere of the Art Basel Awards, presented in partnership with BOSS, and the unveiling of the inaugural Gold Awards on Thursday, December 4. Honoring 11 outstanding practitioners and institutions across visual art and adjacent creative fields, the Awards celebrate excellence, innovation, and collaboration within the global contemporary art ecosystem. Conceived as a platform for creative achievement and cross-disciplinary dialogue, the initiative reflects Art Basel’s commitment to championing visionary figures shaping the future of art and culture.

Alongside these initiatives, a constellation of partnerships across fashion, design, technology, and hospitality underscores Art Basel’s role as a catalyst for artistic discovery and collaboration — strengthening the cross-disciplinary networks that sustain and propel the world’s most dynamic art market.

In 2025, Art Basel Miami Beach articulates a vision of the Americas as a living laboratory of creative dialogue — a place where histories are re-examined, boundaries blurred, and new voices rise to meet the future. It is an edition defined by ambition, depth, and renewal — a snapshot of art’s ever-shifting shape in our time.

Discover this year’s standout presentations, programs, and initiatives below. Navigate to the section of your choice by selecting it via the drop-down menu below.

Untitled Art, Miami Beach 2025 Champions a Collaborative Art Market

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Editorial

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Untitled Art, Miami Beach 2025 Champions a Collaborative Art Market

The 2025 edition introduces a fresh approach and new programming with a focus on Community, Collaboration, and Artist-Led Projects

Miami Beach, FL — November 12, 2025 – Returning to the sands of Miami Beach for its 14th edition – and following a standout inaugural presentation in Houston earlier this year – Untitled Art unveils its 2025 program, reaffirming its position as the leading fair dedicated to community and collaboration. Guided by its mission to evolve the art fair model, the 2025 edition introduces a reimagined format under the direction of Executive Director Clara Andrade Pereira and guest curators Petra Cortright, Allison Glenn, and Jonny Tanna with Harlesden High Street, featuring focused artist presentations, Special Projects, an expanded Nest sector and a new section dedicated to non-profits, and intentional new partnerships. These initiatives build on the fair’s commitment to accessibility and community engagement within the contemporary art market. Challenging conventions in the art fair experience, Untitled Art continues to bridge artistic integrity, curatorial rigor, and collector insight through progressive programming.

This year’s Special Projects sector, guest-curated by Allison Glenn, Artistic Director-at-Large of The Shepherd in Detroit and Curator of the 2026 Toronto Biennial of Art, presents art as a resonant cultural experience. This sector welcomes site-specific installations and ambitious projects across the fair and throughout the city. Offering a dynamic approach, inviting exhibitors, organizations, and artists to activate presentations beyond their booths, the sector features eighteen projects for its largest presentation to date. Glenn explores the theme of water as both metaphor and material – its fluidity, fragility, and power as a simultaneous site of connection and crisis. Set against Miami Beach’s shoreline, the sector transforms Untitled Art’s iconic oceanfront tent into an urgent conversation about climate, bodies, and industry. “Untitled Art Special Projects presents an opportunity to engage with artists’ practices as they relate to global waterways, which is one of the guiding frameworks of my current curatorial research,” states Glenn. “The fair’s location on the shores of the Atlantic Ocean in proximity to the Caribbean Archipelago and Gulf of Mexico provides an ideal setting for many of the dialogues being presented.” Glenn’s Special Projects sector will also prioritize women-led galleries and organizations, including Other Plans Gallery (New Orleans, LA), JO-HS (Mexico City, MX / New York, NY), and Tulsa Artist Fellowship and Central Standard (Tulsa, OK), and the residency and non-profit incubator Buffalo Prescott (Detroit, MI), underscoring Untitled Art’s dedication to amplifying new and underrepresented voices.

Highlight presentations in the sector include Los Angeles-based artist Cameron Harvey, presented by also woman-led Official Welcome (Los Angeles, CA), featuring a new body of work that reimagines painting through organic form and material. Moving her entire body across unstretched, shaped canvases, Harvey’s paintings consider the limits of her form. Inspired by flora observed and gathered on long walks in Southern California, Harvey sees her paintings as protective bodies that hold space for the viewer to contemplate their own relationship to the present moment, their physical body, and their similarities to other forms in nature. Her Miami debut is significant, as Glenn will also be including a new commission of her work at the highly anticipated Toronto Biennial of Art, opening September 26, 2026.

Additionally, Tiff Massey, representing Tiff Massey Studios (Detroit, MI), will present a new sculptural installation in which Massey reimagines Belle Isle—Detroit’s historic island park—as a sculptural sanctuary that honors the emotional and ancestral gravity of water. Titled Belle Island, the presentation complements Massey’s work currently on view as part of DETROIT SALON at the Palais de Tokyo in Paris, a group exhibition of Detroit-based artists. Continuing his exploration of water as both inspiration and medium, Leonel Vásquez’s installation, presented by Casa Hoffmann (Bogotá, CO), centers on sound – amplifying the voices of aquatic landscapes degraded by climate change, industrialization, and armed conflict by paying tribute to rivers that now fall silent. This work builds upon his presentation currently on view as part of the 36th Bienal de São Paulo.

For the first time, the Special Projects sector will extend beyond South Beach, activating Miami’s mainland through a series of large-scale public digital installations presented in partnership with Orange Barrel Media. Through its IKE Smart City platform, Orange Barrel Media will promote Untitled Art, Miami Beach 2025 across its network of digital kiosks throughout Greater Miami and beyond, bringing the curatorial vision of the fair’s Special Projects section into the public sphere. The program features new works by Cristina Molina (presented by Other Plans Gallery, New Orleans, LA), whose practice examines the waterways of the American South, and Kite (Oglála Lakȟóta) (presented by Tulsa Artist Fellowship and Central Standard, Tulsa, OK), whose work interprets the Lakota understanding of the Milky Way as Wakpá Iyóžaŋžaŋ—a river of light that carries loved ones across the sky.

Additional highlights across the sector include a large-scale installation at the entrance of the fair, developed by artist collective Celeste, supported by JO-HS (Mexico City, MX / New York, NY), exploring the cosmos flower’s ability to migrate naturally, following the cycles of water, and Carlos Rolón’s ongoing series of embroidered tarpaulins utilizing salvaged tarps once employed for post-hurricane shelter as a motif of resilience and cultural pride, presented by HEXTON Gallery (Aspen, CO). Meanwhile, Detroit-native Scott Hocking’s work presented by Library Street Collective (Detroit, MI), is created and sourced from a former WWII-era marina in Detroit, forming a layered response to water’s roles in shaping the physical landscapes and histories of labor and ecological transformation. A large-scale, outdoor installation of work from this series is currently on view at The Shepherd in Detroit. Also presenting sculpture, Hugo Blomley’s work’s polished surfaces evoke mechanical and industrial forms while mottled pigments take on an organic appearance; his Special Project is presented by Neon Parc (Melbourne, AU).

The Nest sector, reimagined as a section this year and guest-curated by Jonny Tanna, founder and director of Harlesden High Street and co-founder of Minor Attractions in London, reflects Untitled Art’s dedication to collaboration, supporting emerging voices and fostering greater experimentation. The new Artist Spotlight sector, dedicated to solo presentations and curated by interdisciplinary artist Petra Cortright, amplifies artistic practices that are often underrepresented in art fairs, focusing on digital culture and outsider art. The fair has also launched a new sector for Non-Profit organizations, providing a platform for these spaces within the art fair context while highlighting the role they play in advancing artists’ careers.

Strategic alliances include a new partnership with The Agency Art House, led by real estate expert Mauricio Umansky and distinguished art advisor Arushi Kapoor. The fair launches an advisor-led walkthrough program designed to empower and educate a new wave of art collectors. This initiative reflects a shared commitment to making the art fair experience more meaningful, accessible, and inspiring for a new generation of collectors. Daily guided walkthroughs led by senior art advisors will introduce guests to key presentations, market insights, and acquisition strategies, remaining attuned to shifts in the art market, particularly the growing strength of the mid-range sector.

Returning for its sixth year, The Untitled Art Podcast takes center stage with a series of live, thought-provoking conversations recorded on-site. This season brings together an exceptional lineup of voices shaping today’s art world, exploring the intersections of culture, environment, innovation, and community. Panelists include Annie Armstrong (Artnet News), Benjamin Godsill (Nota Bene), Tim Schneider (The Grey Market), Dennis Scholl (Collector & Artist), John Abodeely (Oolite Arts), Amy Galpin (Museum of Art and Design at Miami Dade College), Leyden Rodríguez-Casanova (Dimensions Variable), Katharina McCarthy (Eighth House Residency), alongside artists Cameron Harvey, Cristina Molina, Celeste, Diana Eusebio, gallerists Chris Sharp (Chris Sharp Gallery), Olga Temnikova (Temnikova & Kasela), Louis Chapple (Studio/Chapple), Bolanle Tajudeen (Bolanle Contemporary), and more.

Building on this dynamic program, Thursday, December 4 from 2–6pm will feature a special activation at the Untitled Art Podcast Lounge with Josh Baer, Art Advisor, Founder of The Baer Faxt, and host of The Baer Faxt Podcast. In an open, drop-in format, Baer will host a live edition of his popular “A.S.K.” (Access Sophisticated Knowledge) segment, inviting new and aspiring collectors to pose their most pressing questions about art collecting, from the fundamentals to the more complex nuances of the market.

“Untitled Art has always been a place where the established meets the new,” says Clara Andrade Pereira, Executive Director of Untitled Art. “Our 2025 programming in Miami Beach continues to expand that vision, pairing rigorous curatorial thinking with a deep dedication to art, community, and emerging talent. This year’s programming reflects an evolving stage for Untitled Art: cultivating a marketplace platform with curatorial intent, creating new opportunities for our galleries and artists through our expansion into a new market, and positioning ourselves as an art fair that drives innovation rather than follows trends.”

Five artist-centric prizes will be awarded, reflecting Untitled Art’s commitment to supporting artists by connecting exhibitors and creators with leading residencies and resources: the newly established Eighth House Residency Prize, offering a two-week summer 2026 residency in Vermont with private studio accommodations, meals, travel, and materials stipend; alongside returning prize partners including the Last Resort Artist Retreat Residency, providing a four-week restorative residency in Baltimore with housing, chef-prepared meals, wellness programming, travel, and a stipend for artists of African descent in the Americas and Carribean; and the CCA Andratx Artist-in-Residence Prize, offering a one-month residency in May 2026 at the renowned CCA Andratx in Mallorca, Spain, including studio space, accommodation, and travel support for the selected artist. The Miami-based Fountainhead Residency Artist Prize was awarded to Mira Dayal (presented by Spencer Brownstone Gallery, New York, NY) for a month-long residency in November 2025 with studio space, professional development, and career-enhancing resources. The fair will also offer a Best Digital Booth Prize supported by Arcual, the fair’s Technology and Innovation Partner, with further details to be shared in the coming weeks.

Delta Air Lines and American Express have returned to Untitled Art, Miami Beach as an Official Partner to present a special lounge experience.The Artscape Lounge presented by Delta and American Express will be a beachfront oasis with complimentary bites and beverages curated by five-time James Beard award-winning chef Michael Solomonov. His Philadelphia-based restaurant group also includes AVIV at Miami’s 1 Hotel South Beach. Delta SkyMiles® American Express Card Members, Delta SkyMiles Medallion Members, American Express Platinum Card® & Centurion Members, and Untitled Art VIPs can enjoy the lounge (subject to availability) and Delta SkyMiles® American Express Card Members will have access to exclusive offerings when they show their Card at entry.

Champagne Pommery returns as a partner of Untitled Art for the fifth consecutive year. In addition to champagne flowing all week from dedicated Champagne Pommery bars throughout the fair, Pommery will serve their signature Cuvée Apanage 1874 to guests on December 2nd. This special cuvée, dedicated to the culinary arts, celebrates the 150th anniversary of the creation of the first Brut.

The Official Partners of Untitled Art, Miami Beach 2025 are J.P. Morgan, American Express, Delta Air Lines, Lucid Motors, RADO, Champagne Pommery, By Michael Miller, and 1 Hotels. Our Digital Partner is Vortic, and our Online Marketplace Partner is Artsy. Our Technology and Innovation Partner is Arcual, also a Prize Partner alongside CCA Andratx, Eighth House, Fountainhead Residency, and The Last Resort Artist Retreat. Programming Partners include Commissioner, The Moore Miami, NoReserve from The Baer Faxt, and The Rabkin Foundation. Our Advisory Partner is The Agency Art House and our Educational Partner is Sotheby’s Institute of Art. Our Shipping Partner is Cadogan Tate. With the support of the Miami Beach Visitor and Convention Authority.

Miami Beach Galleries

Explore the 160 galleries participating in Untitled Art, Miami Beach 2025

A

A-Lounge Contemporary (Nest)

ABC-ARTE

ADA Gallery

adhesivo contemporary (Nest)

Adrian Sutton Gallery

albertz benda

Alma Pearl

Alyssa Davis Gallery (Nest)

Anna Erickson Presents

ANNA ZORINA GALLERY

Aperture (Non-profit)

ARDEN + WHITE GALLERY

ArteFASAM (Nest)

Aura Galeria

B

Bahnhof (Nest)

Berntson Bhattcharjee Gallery

Bianca Boeckel (Nest)

Bienvenu Steinberg & C

bitforms gallery

Blouin Division

Bolanle Contemporary (Nest)

Brandt Gallery

BRINTZ + COUNTY

C

Camille Pouyfaucon

Carl Freedman Gallery

CARVALHO

Chilli (Nest)

Cierra Britton Gallery (Nest)

COHJU

Cub_ism_Artspace (Nest)

CURRO

D

DAM Project

Danziger Gallery

Dimensions Variable (Non-profit)

E

EL MIRADOR (Nest)

Enari (Nest)

Espacio Cabeza (Nest)

F

Fridman Gallery

G

Galeria [SN]

Galeria Lume

Galerie Forsblom

Galerie Isabelle Lesmeister

Galerie Nicolas Robert

Galería Fermay

Galleri Urbane

GALLERIA STUDIO G7

Gallery 1957

Gene Gallery

Gillian Jason Gallery

Giovanni’s Room (Nest)

GUESTHOUSE / Camille Obering Fine Art (Nest)

GVCC

H

HAIR+NAILS

Harper’s

Heft

Henrique Faria New York

HEXTON Gallery

Hidrante (Nest)

HOLLIS TAGGART DOWNTOWN

Homecoming Gallery

homework (Nest)

Huxley-Parlour

I

Il Chiostro Arte & Archivi

IRL Gallery

J

JECZA

JO-HS

John Doe Gallery (Nest)

K

K Contemporary

KALINER

KATES-FERRI PROJECTS

Kavi Gupta

Kravets Wehby Gallery

L

L.U.P.O – Lorenzelli Projects

La Balsa Arte

LA BIBI + REUS

La Cometa

LaiSun Keane

LatchKey Gallery

LATINOU

LATITUDE Gallery New York

LBF (Nest)

LeRoy Neiman Center for Print Studies at Columbia University (Non-profit)

Library Street Collective

Long Story Short (Nest)

Louis Buhl & Co

LUCE GALLERY

M

Madeline MenaRamos Projects

MARC BIBILONI

MARC STRAUS

Marshall Gallery

Meliksetian | Briggs

Miro Presents

MKG127

Morgan Lehman Gallery

N

Negrón Pizarro

Neon Parc

New World School of the Arts (Non-profit)

Nil Gallery

NINO MIER GALLERY

NORITO (Nest)

NYC Culture Club Inc. (Non-profit)

O

Ora Galeria

P

Pablo’s Birthday

PALMA

Palo Gallery

PARISA Projects (Nest)

Patrick Heide Contemporary Art

Peninsula

PIBI GALLERY

PIERMARQ*

Pipeline (Nest)

PLAN X

PNC Gallery

Post Times

Project Loop (Nest)

R

Rajiv Menon Contemporary (Nest)

RHODES

Richard Beavers Gallery

Richard Heller Gallery

RONCHINI

rosenfeld

Rulay Magazine (Nest)

S

s t a r c h (Nest)

SAENGER GALERIA

SANATORIUM

SARAHCROWN

Sears-Peyton Gallery

SECCI Gallery

SGR Galería

SKETCH (Nest)

Soho Revue

Sorondo Projects (Nest)

Souvenir 154 (Nest)

Spencer Brownstone

Stems Gallery

Studio/Chapple (Nest)

Sundaram Tagore Gallery

Superposition

Swivel Gallery

T

Tappeto Volante Projects (Nest)

TERN Gallery

The ANT Project

The Fridge

the Landing

The55Project Art Foundation (Non-profit)

V

Vangar (Nest)

Vigo

VODA Gallery (Nest)

W

WHATIFTHEWORLD

Wilder Gallery (Nest)

Wishbone

WIZARD

Women Artists Archive Miami (Non-profit)

Y

Yancey Richardson Gallery

Yiwei Gallery

Yossi Milo Gallery

Z

www.zidoun-bossuyt.com

Johan Galué: la verdad de su imaginario a través de personajes flotantes

Por

Dougla Bravo

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Johan Galué: la verdad de su imaginario a través de personajes flotantes

Johan Galué: la verdad de su imaginario a través de personajes flotantes
Las inspiraciones de Johan Galué nacen de un territorio profundamente emocional, íntimo y simbólico. Según lo que ha expresado en sus propias palabras durante entrevistas y reflexiones, estas son algunas de las fuentes clave que nutren su obra.

A lo largo de 32 años dedicados intensamente a la creación artística, Johan Galué ha recorrido una travesía única en la que la sinceridad, el orden interno y la belleza de la sencillez han dado forma a una obra poderosa. Su trazo (tanto del lápiz como del pincel) es firme pero no autoritario; revela más de lo que impone. En la última década, Galué se ha dedicado a pintar a tiempo completo sin rebuscamientos ni sutilezas, ha apostado por una práctica artística plena y honesta, sin artificios ni rebuscamientos nos da una mirada de sus personajes que se insertan en contextos difusos en los que subsisten suspendidos, revelando al espectador que no siempre lo evidente existe en lo real tal como lo podemos ver y apreciar.

Sus personajes, suspendidos en atmósferas etéreas, nos transportan a escenarios donde lo irreal se fusiona con lo íntimo, lo vivido. En esta conversación, el artista zuliano nos lleva desde sus primeras inquietudes hasta la vibración emocional que hoy habita en su obra más reciente.

¿Cómo descubriste tu vocación por el arte?

Fue una inquietud interna que tomó forma cuando tenía 12 años, al visitar la casa de mi tía Milagro Carrizo. Su padre, Rufino Carrizo, me mostró un retrato hecho por él y fue como si algo en mí hiciera clic. No sabía nada de arte, pero supe que quería aprender eso. Él me explicó con humildad cómo trabajaba con cuadrículas, de manera empírica. Tomé ese consejo con gratitud, y empecé a dibujar sin parar. Con los años fui notando que tenía una destreza, una necesidad de seguir ese camino.

¿Qué papel jugó tu familia en este proceso?

Mi mamá fue mi primer marchante de arte. Ella vendía productos y, sin que nadie se lo pidiera, llevaba paisajes que yo había pintado en óleo. Se los mostraba a sus clientes como quien muestra un tesoro. A veces los vendía, y eso me ayudaba a comprar materiales. Ese respaldo fue crucial. Me reafirmaba que lo que yo hacía tenía valor, aunque entonces no lo entendiera del todo.

Sabemos que fuiste funcionario de la policía mientras estudiabas arte. ¿Cómo viviste esa etapa?

Fue una decisión difícil. Estaba en segundo semestre de la Facultad de Arte de la Universidad del Zulia cuando, por la situación económica y la salud de mi madre, decidí ingresar en la Policía del Estado Zulia. A pesar de lo contrastante, nunca dejé de dibujar. Incluso durante el curso policial, retrataba a mis compañeros y profesores. Eso me generó ingresos y me dio la posibilidad de seguir apoyando a mi madre mientras mantenía vivo mi impulso creativo. Estuve 15 años en la institución, llevando en paralelo mis estudios y mi obra, sin desviarme de lo que siempre quise ser: artista.

¿Cómo ha evolucionado tu obra a lo largo de los años?

Mi obra ha pasado por tres grandes etapas. La primera, de 2004 a 2011, fue un periodo centrado en el dibujo académico, donde reinaba la figuración pura y técnica. Luego, entre 2011 y 2016, comencé la transición a explorar más la pintura, en donde el dibujo convive con una explosión de color y texturas. Desde 2017 hasta hoy, mi trabajo ha madurado hacia una propuesta más personal, donde el color toma el mando y mis personajes ya no provienen del mundo visible, sino de mi imaginario. En ese momento comienzo a identificar una nueva gama de posibilidades creativas, permitiendo que mis personajes adquieran una identidad propia definida por mi visión. Reconozco que no es necesario buscar influencias externas para su desarrollo, sino que pueden surgir genuinamente de mi imaginación y de mi manera particular de representar la realidad, consolidando así un discurso plástico propio. A partir de este punto, mi obra adquiere mayor solidez y se orienta hacia nuevos horizontes, en los que me siento cada vez más cómodo y abierto al descubrimiento de múltiples oportunidades dentro de mi proceso creativo.

Hay una estética más introspectiva, una narrativa propia y me interesa que cada personaje tenga un espíritu propio, ya no busco representar lo que se ve, sino lo que resuena dentro, lo que surja desde mi imaginación. En este periodo mi relación con el color se volvió más íntima, más emocional. Las escenas ya no están delimitadas por la lógica del espacio real, sino por atmósferas ambiguas donde mis personajes flotan, sobreviven y significan. Considero que, como artista, es fundamental mantener una constante búsqueda de autoconocimiento y conexión con la propia obra. Es importante superar los temores y trascender los límites, explorando el vasto mundo de la imaginación, que concibo como ilimitado. Este proceso implica sumergirse en un universo donde es posible descubrir innumerables posibilidades.

¿Quién ha sido clave en tu mirada artística?

José Ramón Sánchez. No me enseñó a pintar: me enseñó a pensar. Conversar con él me
abrió la mente a otros enfoques, a interpretar el arte más allá de la técnica. Me hablaba de
sus vivencias en Europa, de su forma de ver el mundo, y eso se sembró en mí como una
semilla de cambio. Hoy, cada vez que me encierro en el taller, su voz sigue presente, como
un eco.

¿Quién ha sido clave en tu mirada artística?

José Ramón Sánchez. No me enseñó a pintar: me enseñó a pensar. Conversar con él me abrió la mente a otros enfoques, a interpretar el arte más allá de la técnica. Me hablaba de sus vivencias en Europa, de su forma de ver el mundo, y eso se sembró en mí como una semilla de cambio. Hoy, cada vez que me encierro en el taller, su voz sigue presente, como un eco.

¿Cuál ha sido el punto de inflexión en tu carrera reciente?

En 2017 conocí al coleccionista y galerista de arte Agop Tarsinian, después de haber oído hablar de mi trabajo, se puso en contacto conmigo para solicitar una muestra de mis obras a través del teléfono; al día siguiente me visitó y adquirió nueve piezas. A partir de ahí, se creó una conexión con mi trabajo que marcó un giro en mi obra pues a través de su ayuda mi trabajo comenzó a circular internacionalmente, como fue mi individual en Nueva York con la galería estadounidense Unix Gallery en New York, un espacio donde nunca imaginé llegar a exponer, pero más allá de lo geográfico, lo importante para mí como artista plástico es sentir que mi pintura conecta con público de cualquier cultura y que ella, mi obra, encuentra su lugar.

“Pinto para mantenerme fiel a quien fui de niño. Ese que dibujaba sin saber de técnicas, pero con la urgencia de decir algo verdadero. En el fondo, esa urgencia sigue ahí, todos los días, con cada trazo.”

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¿Cómo descubriste tu vocación por el arte?

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¿Quién ha sido clave en tu mirada artística?

¿Cuál ha sido el punto de inflexión en tu carrera reciente?

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In Dialogue With Color
Mid-20th Century to Now

The Institute is open Saturdays 12-2pm and by appointment.=
email: [email protected]
255 NE 69th St. Unit D
Miami, FL 33138
+786-566-0542