The CAMP Gallery

The Contemporary Art Modern Project is a contemporary art gallery dedicated to raising awareness for emerging and mid-career artists with a unique emphasis on ultra-contemporary approaches to textiles and fiber art. Founded during the height of the pandemic by Melanie Prapopoulos, the gallery has gone on to create a distinctly academic and thought-provoking arts program in North Miami, and beyond. As a gallery, The CAMP remains steadfast in transparency both for the artist and for the collector, building bridges and connections from  creation to acquisition. With a robust local and international roster, the gallery represents artists working in textiles and fiber, painting, photography, sculpture, and installation. Looking at art, as a whole, through a reactionary and interdisciplinary approach, the gallery operates as a space wherein creativity and reality co-exist. 
The CAMP Gallery is best known for its annual legacy exhibition, Women Pulling at The Threads of Social Discourse. The 2020 edition of the series, known as “The Flag Show” has travelled to two museums since its inauguration, MoCA Connecticut and the Jewish Museum of Milwaukee.

About MELANIE PRAPOPOULOS

Coming from the position of an artist, gallerist and curator Melanie Prapopoulos leads the gallery with respect for both the artist and the collector. Deeply energized by the relationships between art and collecting, she focuses her attention on presenting art that she would and does collect. With a background in literary arts and Art History, at both New York University and The University of Indianapolis, Prapopoulos craves to carve out an environment where liberal arts can thrive. This focus is best witnessed in the gallery’s programming where the curatorial exploration relies on theories beyond the art world, as art responds to the entire environment and does not focus solely on execution. 

Meet the Team

Melanie Prapopoulos Director & Founder

Maria Gabriela Di Giammarco Assistant Director

Gabriel Torres Registrar & Design

Nicole Zambrano Director of Sales

Amy Arechavaleta Communications Assistant

Sofia Witos Gallery Intern

Artists:

Laetitia Adam-Rabel
James Akers
Joanna Ambroz
Miss Aniela
Andrew Arocho
Hermes Berrio
Milton Bowens
Jan Brandt
Marjolein Burbank
Louise Cadoux
RemiJin Camping
Mabelin Castellanos
Orly Cogan
Vincent Dion
Thomas Donaldson
Seth Ellison
Carol Erb
Camille Eskell
Khotan Fernandez
Cecilia Moy Fradet
Molly Gambardella
Jason Michael Hackenwerth
HEIDI HANKANIEMI
Eileen Hoffman
TaeYang Hong
John Lister, III
Katika
Bob Keating
Ayobola Kekere-Ekun
Kathryn Knudsen
Alice de Kruijs
Jac Lahav
Liz Leggett
Katrina Majkut
FRUMA MARKOWITZ
Michela Martello
Demis Martinelli
Sooo-z Mastropietro
Caitlin McCormack
Mychaelyn Michalec
Elena Monzo
Vick Naresh
Alan Neider
Natalie Obermaier
Stefano Ogliari Badessi
Oluwatomisin Olabode
Lindsay Overbey
Xan Padron
Julie Peppito
Karola Pezarro
Pablo Power
Christy Powers
Amy Putman
Eden Quispe
Johnny Ramstedt
Sonya Revell
Barbara Ringer
Michael Sylvan Robinson
Romeo Robinson
Rosana Machado Rodríguez
Margaret Roleke
Giulia Ronchetti
Steven Rudin
Dominik Schmitt
Natalia Schonowski
Manju Shandler
Leslie Sheryll
Deborah Simon
Silvana Soriano
Hou Guan Ting
Nancy Tobin
Silvia Trappa
Mendel Treitel
Rita Valley
Lydia Viscardi
Amanda Kate Walker
Melissa Webb
Joan Wheeler
Marisa S White
Naomi White
Margaret Ann Withers
Hans Withoos
Ziesook You
Su Yu
Andrea Domenica Zanenga
Guang-Yu Zhang
Magdalena Zych

The CAMP Gallery

791-793 NE 125th St.

North Miami, FL 33161

786 953 8807

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Lisa Rockford, Art curator

Lisa Rockford is an artist, educator, and curator. Raised in Palm Beach County, FL, Lisa earning her BFA in Painting and BS in Art Therapy from Bowling Green State University in 1999, and a Master of Fine Arts in 2001 from the School of the Art Institute of Chicago.  Since returning to South Florida in 2007, Lisa has established herself as an artist, curator, and educator. She currently holds rank as a tenured Assistant Professor in the Fine Arts department at Broward College.
 
As an artist, Lisa has exhibited her artwork nationally since 1992. She was awarded the Innovative Collaborative FAB Grant for her solo exhibition at the Art and Culture Center of Hollywood in 2011, and has since been invited to exhibit at The Deering Estate, MAC Fine Art, The Lowe Museum of Art, and the survey “100 Degrees in the Shade,” among others.
 
Lisa is an avid arts advocate, with a passion for connecting with the community through visual art; and has organized multi-disciplinary exhibitions, public lectures, artist workshops, and interactive experiences that are all designed to reach a wide audience. In 2013, she was dubbed a “Rising Star” in Gold Coast Magazine’s article, “40 under 40,” for her community building events for the local art community.
 
Lisa has developed multiple art events in South Florida – spending much of her free time curating exhibitions in a variety of public venues. Among the first to be selected as an artist in residence at Sailboat Bend Artist Lofts in Fort Lauderdale, Lisa was the principal organizer in converting the lofts’ 3 floors of common space into a public exhibition space, 1310 Gallery. Lisa quickly gained media attention for her thematic curated exhibitions at the gallery, pivoted around her goal to offer exhibition opportunities to underrepresented regional artists. One of her first exhibitions at 1310 was to feature talent within the community of adjunct art professors. Five of her curated exhibitions, “The Myth of Power,” “Humoratorium: The Art of Whimsy,” “Appropriated Gender,” “Fiber Optics,” and “Gritty in Pink,” have received grants from the Broward county Cultural Division.
 
Lisa has worked with over 250 regional and national artists,and been commissioned by or worked collaboratively with Whitespace-The Mordes Collection, The Girls Club Collection, the Broward Art Guild, Young At Art Museum, The Projects Contemporary Art Space at FATvillage, Bailey Contemporary Arts, and Art Nexus. These projects have been featured in various newspapers, on PBS’ television series Art Loft, and five of these shows were awarded CIP grants through the Broward County Cultural Division. 
 
As a professor, Lisa established the campus’s first visiting artist lecture and workshop series at Broward College North Campus, which she developed with an interdisciplinary and inter-departmental focus, curating the series with the theme of “STEAM” (Art + STEM fields). The visiting artist series has been renewed annually, and grown in scope to include prestigious nationally renowned speakers like John Edmark, Tiffany Trenda, Susan Taylor Glasgow, Nathalie Miebach, Richard Dupont, & Brian Dettmer. Lisa was awarded with the Robert Elmore International Exchange Award through the Honors department in 2014 to travel to China for Broward College, and selected to be a faculty representative in the Critical Thinking Scholars Program.
 
Lisa has presented educational lectures, and acted as moderator of panel discussions for at the International Arts & Humanities conference in Athens Greece in 2017 The Museum of Art Fort Lauderdale, Bowling Green State University, Girls Club-The Collection of Francie Bishop Good and David Horvitz, Bailey Contemporary arts, The FAR Gallery in FAT Village Fort Lauderdale, the Boynton Beach Public Library, as well as presented workshops at Young at Art Museum, and guided tours for Art Nexus at the official Art Basel Miami Beach.

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Michaela Yearwood-Dan (b. 1994, London, UK) is a multidisciplinary artist whose work spans paintings, works on paper, ceramics, and site-specific mural and sound installations. Through her practice, she seeks to create spaces that celebrate queer community, abundance, and joy. Yearwood-Dan’s distinctive visual language is shaped by a rich tapestry of influences, including Blackness, queerness, femininity, and healing rituals. Her work fluidly transitions across mediums, incorporating botanical motifs and introspective, diaristic reflections within expressive abstract forms and bold, dripping paint. Whether on the grand scale of her canvases or the more intimate scale of her ceramics and works on paper, her art often evokes a sense of warm, inviting domesticity. By resisting fixed definitions of identity, Yearwood-Dan explores the creation of spaces—physical, pastoral, and metaphorical—that embrace boundless ways of being.

Vibrant and lush, Yearwood-Dan’s work is both deeply personal and politically resonant. She employs color and materials for their symbolic significance, weaving in hues like the oranges, pinks, purples, and blues of lesbian and bisexual pride flags, as well as incorporating ceramic carnations and pansy petals, which carry queer historical connotations. Language and botanical imagery are recurring elements in her art: her abstract environments are alive with painted flora, while live houseplants emerge from wall-mounted ceramics. Within her paintings, she embeds fragments of text—drawn from song lyrics, poetry, or her own diary entries. These textual meditations, varying in scale and legibility, are at once insightful, humorous, confident, and probing. They invite viewers into a vivid, paradoxical world of play, contemplation, and connection, set against a backdrop of swirling forms and radiant color.

Yearwood-Dan’s work has been exhibited at prestigious venues such as the Contemporary Arts Center in Cincinnati, OH; the Scottsdale Museum of Contemporary Art in AZ; the Green Family Art Foundation in Dallas, TX; Palazzo Monti in Brescia, Italy; and the Museum of Contemporary African Art in Marrakesh, Morocco, among others. Her pieces are also held in the permanent collections of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Institute of Contemporary Art Miami in FL; the Crocker Art Museum in Sacramento, CA; the Jorge M. Perez Collection in Miami, FL; and the Columbus Museum of Art and the Pizzuti Collection in Columbus, OH.

In 2022, Yearwood-Dan created her first public mural installation for Queercircle in London, UK. She has also participated in numerous fellowships and residencies, including the Palazzo Monti Residency in Brescia, Italy, and Bloomberg New Contemporaries in partnership with Sarabande: The Lee Alexander McQueen Foundation in London, UK. Through her expansive and inclusive practice, Yearwood-Dan continues to redefine the possibilities of art as a space for connection, reflection, and celebration.

Biography

Born

London, UK, 1994

Education

BA Fine Art Painting, University of Brighton, Brighton, UK, 2016

Resides

Lives and works in London, UK

Solo Exhibitions

2023

Marianne Boesky Gallery, ‘Michaela Yearwood-Dan. Some Future Time Will Think of Us’, New York NY

2022

Queercircle, ‘Michaela Yearwood-Dan. Let Me Hold You’, London, UK
Tiwani Contemporary, ‘Michaela Yearwood-Dan. The Sweetest Taboo’, London, UK

Group Exhibitions

2024

Walker Art Gallery, ‘Conversations’, Liverpool, UK

York Art Gallery, National Treasures Project, ‘Monet in York. ‘The Water-Lily Pond”, York, UK

Dallas Museum of Art, ‘When You See Me. Visibility in Contemporary Art/History’, Dallas TX

Dulwich Picture Gallery, ‘Soulscapes’, London, UK

2023

Marquez Art Projects, ‘Works from the Marquez Family Collection’, Miami FL
Pond Society, ‘Public Private Part II’, Shanghai, China
Southampton Arts Center, ‘Change Agents. Women Collectors Shaping the Art World’, Southampton NY
Marianne Boesky Gallery, ‘Purple Prose. Queer Illiteralism & A Flowering Cacophony’, New York NY
CICA Center of International Contemporary Art, Vancouver, ‘New British Abstraction’, Vancouver, Canada
Gagosian Gallery, ‘Rites of Passage’, London, UK
Green Family Art Foundation, ‘Considering Female Abstractions’, Dallas TX
Contemporary Arts Center, ‘Ecologies of Elsewhere’, Cincinnati OH

Residencies and Awards

2022

Anderson Ranch Arts Center, Visiting Artist, Aspen CO

2021

Palazzo Monti Residency, Brescia, Italy

Bibliography

Publications

2024

Dulwich Picture Gallery (ed.), ‘Soulscapes’, London: Dulwich Picture Gallery, 2024, pp. 106-107, ill. (exh. cat.)
Lynne, Jessica, Parker, Rianna, Jade, ‘Image and Belief. An Unfinished History of Black Artists’, London: Frances Lincoln, 2024, ill.
Chiu, Alfonse, ‘Reinventing Abstraction’, on: www.artbasel.com, 15 February 2024, ill.

2023

Blanc Franard, Louis, Carey-Williams, Matt, Yuan, Viahsta, ‘New British Abstraction’, Vancouver: Center of International Contemporary Art, 2023, ill. (exh. cat.)
Bailey, Stephanie, ‘How Artists are Redefining Identity Through Painting in the 21st Century’, on: artbasel.com, 6 July 2023, ill.

Press

2024

Chen, Min, ‘Fog Design + Art Fair Celebrates 10 Years with Swift Sales and Artist-First Programming’, on: news.artnet.com, 19 January 2024, ill.
Castelo III, Sean, ’12 Global Artisans Do a Creative Makeover of this Iconic Luxury Bag’, on: mega-onemega.com, 22 January 2024, ill.
de Klerk, Amy, ‘The latest Lady Dior Art Project is here’, on: harpersbazaar.com,10 January 2024, ill.
Chiu, Alfonse, ‘Reinventing Abstraction’, on: www.artbasel.com, 15 February 2024, ill.

2023

Steer, Emily, ‘Meet 8 Artists Who Broke Big in 2023—From Sculptor Mire Lee to Abstract Painter Rachel Jones’, on: news.artnet.com, 22 December 2023, ill.
Alleyne, Allyssia, ’10 Black British Artists Working in Abstraction’, on: artsy.net, 12 October 2023, ill.
Bailey, Stephanie, ‘How Artists are Redefining Identity Through Painting in the 21st Century’, on: artbasel.com, 6 July 2023, ill.
Kinsella, Eileen, ‘Rising Artist Michaela Yearwood-Dan’s Lavish Flora-Filled Visions Make Beauty Political’, on: news.artnet.com, 27 April 2023, ill.
___’Michaela Yearwood-Dan: Some Future Time Will Think of Us’, on: brooklynrail.org, 14 April 2023, ill.
Hendy, Eloise, ‘Artist Michaela Yearwood-Dan on finding joy through art and reclaiming beauty’, on: theglossarymagazine.com, 9 March 2023, ill.
Villa, Angelica, ‘Closely Watched Female Painters Continue to Rise in Christie’s London Sales’, on: artnews.com, 1 March 2023, ill.
Jacobson, Andrew S., Carollo, Elisa, ‘State of the Market: Frieze Art Fair Los Angeles’, on: washingtoninformer.com, 21 February 2023, ill.
___’Frieze Los Angeles 2023 – What the Dealers Had to Say’, on: artlyst.com, 20 February 2023, ill.
Schulz, Madeleine, ‘Michaela Yearwood-Dan. We’re not so sure where we’re going, and baby that’s alright’, in: Flaunt, Issue 185, 17 February 2023, ill.
___’A Ceramic Renaissance: Clay and Sculptural Works at Frieze Los Angeles 2023′, on: frieze.com, 2 February 2023, ill.
Kakar, Arun, ‘6 Collectors on the Artists, Shows, and Trends to Watch in 2023’, on: artsy.net, 9 January 2023, ill.
Avram, Danielle, ‘Dallas’ Green Family Art Foundation makes a splash with ‘Black Abstractionists”, on: dallasnews.com, 6 January 2023, ill.
___’13 Artists Poised to Break Out Big in 2023, According to Naomi Beckwith, Marilyn Minter, and Other Art-World Insiders’, on: news.artnet.com, 2 January 2023, ill.

Podcasts

2024

Cerebral Women, ‘A Conversation with Michaela Yearwood-Dan’, episode 182, January 2024

2022

Diament, Robert, Tovey, Russell, ‘Michaela Yearwood-Dan’, Talk Art, 15 April 2022, podcast, on: shows.acast.com

2020

Katy Hessel, The Great Women Artists Podcast, episode 28, 10 June 2020

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Greco-Buddhist Art: The Fusion of Hellenistic and Buddhist Traditions

Greco-Buddhist art, also known as Gandhara art, represents one of art history’s most intriguing and innovative cultural syntheses. Flourishing between the 1st century BCE and the 5th century CE in the Gandhara region (modern-day Pakistan and Afghanistan), this artistic tradition emerged at the crossroads of the ancient world, where Greek, Persian, Indian, and Central Asian influences converged. Greco-Buddhist art is renowned for its unique portrayal of the Buddha in human form, blending Hellenistic artistic techniques with Buddhist spiritual themes.

Historical Context

The origins of Greco-Buddhist art can be traced back to Alexander the Great’s conquests in the 4th century BCE, which brought Greek culture and artistic traditions to Central Asia and the Indian subcontinent. After Alexander’s death, the region became part of the Seleucid Empire and later the Greco-Bactrian and Indo-Greek kingdoms. These Hellenistic states maintained Greek cultural practices, including art and architecture, while interacting with local traditions.

The rise of the Kushan Empire in the 1st century CE further facilitated the fusion of Greek and Indian cultures. The Kushans, who ruled over a vast territory stretching from Central Asia to northern India, were great patrons of Buddhism and art. Under their rule, Gandhara became a thriving center of Buddhist culture and artistic innovation.

Characteristics of Greco-Buddhist Art

Greco-Buddhist art is distinguished by its unique blend of Hellenistic and Indian elements. Key characteristics include:

1. Anthropomorphic Representation of the Buddha: One of the most significant contributions of Greco-Buddhist art is the first known human depictions of the Buddha. Before this, Buddhist art was aniconic, using symbols like the Bodhi tree, footprints, or the Dharma wheel to represent the Buddha. Under Greek influence, artists began to portray the Buddha as a human figure, often resembling a Greek god with wavy hair, a serene expression, and draped robes.
2. Realism and Naturalism: Hellenistic artistic techniques emphasized realism, evident in the detailed facial features, muscular definition, and flowing drapery of Gandhara sculptures. The Buddha and Bodhisattvas are depicted with grace and idealized beauty reminiscent of Greek statues.
3. Architectural Influence: Gandhara art also incorporated Greek architectural elements, such as Corinthian columns, into the design of stupas and monasteries. The combination of Greek and Indian styles created a unique aesthetic that reflected the cultural syncretism of the region.
4. Narrative Reliefs: Gandhara artists excelled in creating narrative reliefs depicting scenes from the Buddha’s life and Jataka tales (stories of his previous lives). These reliefs often featured intricate details and a sense of movement, influenced by Roman and Greek storytelling traditions.
5. Iconography: The iconography of Greco-Buddhist art includes not only the Buddha but also Bodhisattvas, deities, and mythological figures. The Greek god Heracles, for example, was reinterpreted as Vajrapani, a protector of the Buddha.

Key Sites and Artifacts

1. Taxila: An ancient city in modern-day Pakistan, Taxila was a major center of Gandhara art. Excavations have revealed numerous stupas, monasteries, and sculptures that showcase the fusion of Greek and Indian styles.
2. Hadda: Located near Jalalabad in Afghanistan, Hadda is known for its stunning stucco sculptures, which display a high degree of Hellenistic influence.
3. Peshawar Museum: This museum in Pakistan houses one of the finest collections of Gandhara art, including sculptures, reliefs, and artifacts that highlight the region’s artistic achievements.
4. Buddhist Stupas: The Great Stupa at Dharmarajika (Taxila) and the Butkara Stupa (Swat Valley) are notable examples of Gandhara architecture featuring Greek-inspired decorative elements.

Cultural and Religious Significance

Greco-Buddhist art played a pivotal role in the spread of Buddhism across Asia. The realistic and relatable depictions of the Buddha made Buddhism’s teachings more accessible to diverse audiences. As Buddhism traveled along the Silk Road, Gandhara art influenced the development of Buddhist art in Central Asia, China, and eventually Japan, leaving a lasting cultural legacy.

The synthesis of Greek and Indian traditions in Gandhara art is a testament to the broader cultural exchanges along the Silk Road. It serves as a powerful reminder of the interconnectedness of ancient civilizations and their ability to create something entirely new through dialogue and collaboration, enlightening us about the rich history of cultural exchange.

Legacy and Influence

The legacy of Greco-Buddhist art extends far beyond the Gandhara region. Its influence can be seen in the Buddhist art of Central Asia, where the fusion of Greek and Indian styles continued to evolve. The iconic Buddha statues of Bamiyan in Afghanistan, though tragically destroyed in 2001, were a testament to the enduring impact of Gandhara art, underscoring its lasting influence.

In East Asia, the Hellenistic elements introduced by Gandhara art were adapted and transformed, contributing to the development of distinct regional styles. For example, the serene and elongated Buddha figures of Chinese and Japanese art owe a debt to the naturalism and grace of Gandhara sculptures.

onclusion: Greco-Buddhist art stands as a remarkable example of cultural synthesis, where the artistic traditions of Greece and India merged to create something entirely new and enduring. Through its realistic depictions of the Buddha, innovative architectural designs, and narrative reliefs, Gandhara art enriched the visual language of Buddhism and facilitated its spread across Asia. Today, it remains a powerful reminder of the creative potential that arises when cultures meet and interact.

Further reading

1. Behrendt, K. A. (2004). The Art of Gandhara in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art.
   (A detailed exploration of Gandhara art and its Hellenistic influences.)
2. Nehru, L. (1989). Origins of the Gandharan Style: A Study of Contributory Influences. Delhi: Oxford University Press.
   (Examines the cultural and historical factors that shaped Gandhara art.)
3. Taddei, M. (1993). The Art of Gandhara: A Guide to the Collections of the National Museum of Oriental Art. Rome: Istituto Italiano per l’Africa e l’Oriente.
   (A comprehensive guide to Gandhara art and its key artifacts.)
4. Boardman, J. (1994). The Diffusion of Classical Art in Antiquity. Princeton: Princeton University Press.
   (Discusses the spread of Greek artistic traditions, including their influence on Gandhara art.)
5. Errington, E., & Cribb, J. (1992). The Crossroads of Asia: Transformation in Image and Symbol. Cambridge: Ancient India and Iran Trust.
   (Explores the cultural exchanges that shaped Gandhara art and its legacy.)

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Palm Beach Modern + Contemporary 2025

Mar 20, 2025  Mar 23, 2025

PALM BEACH MODERN + CONTEMPORARY

Palm Beach Modern + Contemporary (PBM+C), presented by Art Miami, returns for its eighth edition opening with an exclusive invitation-only VIP Preview on Thursday, March 20 and running through Sunday, March 23, 2025 at the Palm Beach County Convention Center.

South Florida’s premier and most prestigious winter art fair, PBM+C takes place during the height of season and is the only “can’t miss” event for all serious collectors, curators, museum directors and interior designers, providing an intimate look at the most important works available for acquisition at the forefront of the international contemporary, modern, classical modern, post-war and pop eras.

PBM+C is the most important fair each winter as it brings a world-class, internationally respected group of galleries and their artists to the discerning and ever growing high net worth audience that has migrated South.

The Fair will coincide with the world-renowned Palm Beach International Boat Show, located along the waterfront and Flagler Drive in Downtown West Palm Beach, FL. The show will feature more than $1.2 billion worth of yachts and accessories, including hundreds of boats ranging from 8-foot inflatables to super yachts nearly 200 feet in length.

GENERAL ADMISSION

Friday, March 21 11am – 7pm

Saturday, March 22 11am – 7pm

Sunday, March 23 11am – 6pm

Address: Palm Beach County Convention Center, 650 Okeechobee Blvd, West Palm Beach, FL 33401, USA

Invitations for Palm Beach Modern + Contemporary 2025

Are you eager to secure an invitation for Palm Beach Modern + Contemporary 2025? Thanks to our esteemed partnerships with art fairs and salons worldwide, ArtMajeur by YourArt is regularly bestowed with a select number of unique invitations for discerning collectors and ardent art enthusiasts. This is your chance to gain exclusive access to premier art fairs and shows globally, courtesy of ArtMajeur by YourArt’s limited invitations. Request your complimentary invitation for Palm Beach Modern + Contemporary 2025 on ArtMajeur by YourArt today! Please note, these invitations are a rare commodity, swiftly distributed by art fairs. However, don’t hesitate to reach out, and we’ll do our utmost to secure an invitation or provide you with the necessary access details.

How can I request free invitations to attend Palm Beach Modern + Contemporary 2025?

If you’re an art collector or enthusiast keen on exploring one of the many art fairs and shows partnered with ArtMajeur by YourArt Galerie worldwide, please submit your request for a free invitation. Ensure that you specify the event you’re interested in attending. You can reach out through our website’s contact form or email.

What happens after I submit my invitation request?

Once you’ve submitted your request, we’ll promptly check our inventory for available Palm Beach Modern + Contemporary 2025 invitations. If we have one for your chosen event, we’ll send it directly to you. If not, we’ll immediately contact the event organizers to secure additional invitations.

Is receiving an invitation guaranteed after I apply?

While we strive to fulfill all requests, the reality is that invitations are limited. Therefore, we can’t guarantee an invitation to every applicant. Requests are honored on a ‘first-come, first-served’ basis, and we do our best to serve our community of art lovers and collectors.

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