Artists Turn Margaritaville Inside Out at Locust Projects

A twelve-foot spilled margarita and a monumental pair of cargo shorts made from real sails in the site-specific installation “Lost Shaker of Salt” at Locust Projects through Saturday, June 20. (Photo by Pedro Wazzan, courtesy of Locust Projects)

At first glance, “Lost Shaker of Salt” at Locust Projects in Little River appears to be a breezy summer diversion.

Upon entering the exhibition space, visitors encounter Kelly Breez and Patty Gone’s brightly colored homage to Jimmy Buffett’s Margaritaville empire, anchored by a giant margarita knocked onto its side.

Oversized flip-flops are tacked on one wall. Humongous cargo shorts dangle upside down and dominate another area. A tiki-inspired sports bar with tropical-print stools and video screens occupies another corner.

Installation view of Kelly Breez and Patty Gone, “Lost Shaker of Salt,” 2026.at Locust Projects. (Photo by Pedro Wazzan, courtesy of Locust Projects)

Two oversized Adirondack chairs face a campy performance-art film that traces a path from Caribbean sugar plantations and rum production to the modern fantasy of escape marketed by Margaritaville.

But Breez and Gone are selling something entirely different.

“I would say the concept of Margaritaville as a whole is that they’re selling you pure escapism,” says Breez, a Miami-based multidisciplinary artist. “Just vibes and happy hour and drinks and everything is fine. But there really is this absolute underlying dark side to Margaritaville, which was really what we wanted to dig a little deeper into.”

She compares the installation itself to that tension.

Visitors are invited to walk inside the margarita — a dense, found‑object sculptural environment of memorabilia-style elements assembled from collected materials. (Photo by Pedro Wazzan, courtesy of Locust Projects)

“There’s this giant margarita, let’s go stand inside of it, and some Adirondack chairs, let’s have a sit. And giant shorts,” she says. “But inside there is this anti-colonialist memorial library.”

Visitors are invited to walk inside the margarita — a dense, found‑object sculptural environment of memorabilia-style elements.

“I’m a huge maximalist,” Breez says, explaining that her usual instinct is to fill a space with objects and materials. For this project, however, she deliberately pulled back, allowing the giant cargo shorts and margarita to become the focus.

Beneath the humor and nostalgia, the commissioned works are meant to evoke more complicated questions about who gets to be part of this paradise and who gets left out. Margaritaville isn’t just a kitschy theme — it points out a much larger critique of American culture.

Gone, a Los Angeles-based trans artist, poet and educator, approached Margaritaville from a different perspective than Breez. While Breez grew up immersed in South Florida boating culture, Gone became interested in what the lifestyle brand reveals about broader ideas of belonging and the balance of power.

Patty Gone and Kelly Breez inside the installation of the giant margarita surrounded by Breez’s found object art. (Photo by Logan Fazio, courtesy of the artists)

“Margaritaville is kind of like the gateway to thinking about a certain kind of straight white culture in Florida, but then maybe the U.S. more broadly,” Gone says.

She became particularly interested in the sports bar as a cultural symbol.

“I think about the bar itself as a sports bar, especially as a nexus of that kind of social culture,” Gone says. “A kind of patriarchal escapism.”

The centerpiece of the site-specific installation — a monumental pair of cargo shorts measuring 12 feet tall and 17 feet wide — carries a personal connection for Breez.

Many of the sails used to construct the oversized shorts came from the artist’s family sailing trips with her ather, including voyages to Key West.(Photo by Pedro Wazzan, courtesy of Locust Projects)

A South Florida native, she grew up sailing with her father and listening to Buffett’s music on the water. Many of the sails used to construct the oversized shorts came from those family sailing trips, including voyages to Key West.

Built entirely from repurposed sailcloth, the sculpture required months of planning, fabrication and hand sewing. Breez worked alongside her father and stepmother, transforming their home into what she describes as “an absolute factory” during the construction process.

The giant shorts also function as the James William Buffett Anticolonialist Memorial Library.

Visitors can enter through the fly, then sit in the library among books selected by Gone examining tourism, colonization, sugar production and the history of the Caribbean and Latin America.

Visitors can enter through the fly of the giant cargo shorts, then take in books in the James William Buffett Anticolonialist Memorial Library.
(Photo by Pedro Wazzan, courtesy of Locust Projects)

“There’s a lot of really good stuff in here about the beginning of the sugar trade and how that has to do with the beginning of cocktails,” Breez says.

Those themes reappear in Gone’s multi-channel video installation, which traces the history of the margarita far beyond the frozen cocktails served at chain restaurants and beach bars.

“I was trying to think of how we got here?” Gone says. “How did we get to this sports bar, Margaritaville culture?”

Researching the origins of mixed drinks led her into histories of colonial trade routes, sugar production and empire.

“The first mixed drink is made in India,” Gone says. “Mixed drink culture is so embedded with colonialism.”

The video follows that history from India to Europe and the Caribbean, where sugar production fueled colonial economies and transformed drinking culture.

One discovery particularly surprised her.

Film still of Xochitl Loco, Abhijeet “Moodzi” Mudgerikarin, and Elaina Moreno in
Patty Gone’s “Lost Shaker of Salt, 2026.” (Photo courtesy of Patty Gone)

“They’re drinking so much punch at the Declaration of Independence party,” Gone says. “It was wild to me to find that. They’re drinking all these mixed drinks made with ingredients connected to slave labor and that’s their official drink.”

Eventually the story arrives at Buffett himself, whose laid-back image became the foundation of a billion-dollar lifestyle brand that includes restaurants, resorts and retirement communities.

For Gone, that evolution became part of the exhibition’s larger narrative.

“When Jimmy Buffett comes in, he’s this countercultural figure at first,” she says. “Then where does it start to go?”

Neither artist is interested in simply mocking Buffett or his fans but examining the culture. The surroundings are familiar, but they are amplified.

For some visitors, that realization takes time.

Film still of Patty Gone in Patty Gone’s “Beachfront Views.” (Photo courtesy of Patty Gone)

“It takes a bit for satire to sink in sometimes,” Gone says. “It takes you to sit with it for a second.”

About 25 miles north of Locust Projects is the Margaritaville Hollywood Beach Resort, one of the most visible examples of the lifestyle brand built around Buffett and the promise of tropical escape. Proximity makes the exhibition’s examination of tourism, leisure and paradise feel even more relevant in South Florida.

At the installation’s opening, Breez recalls that many visitors initially responded to the colorful visuals and tropical atmosphere before discovering the exhibition’s deeper themes.

“Some people were ready to just call it cheery and summery,” she says. “But there are indications of the dark underbelly.”

Built entirely from repurposed sailcloth, the sculpture required months of planning, fabrication and hand sewing. (Photo by Pedro Wazzan, courtesy of Locust Projects)

There’s the sports bar, the memorabilia, a stacked cube monitor tower showing Buffet’s early videos, and there are the Big Pharma commercials playing on a loop at the sports bar promising the same feel-good lifestyle for the Boomer generation.

And then slowly the question sinks in — who is this “good life” really meant for?

WHAT: Kelly Breez and Patty Gone: “Lost Shaker of Salt”

 WHEN: 11 a.m. to 5 p.m. Tuesday through Saturday. Through Saturday, June 20.

 WHERE: Locust Projects, 297 NE 67th St., Miami

 COST: Free

 INFORMATION: (305) 576-8570 or locustprojects.org.

 ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don’t miss a story at www.artburstmiami.com.

Wade Tullier’s Deceptive Simplicity at Primary

Installation view of Wade Tullier: “Sky, Sea, Fruit, Hand, Seed.” at Primary (Photo courtesy Erin Parish)

At Primary in Miami’s Little River, the cool gray of the gallery sits in contrast with the midday sun and settles the exhibition into a steady tone that complements the works throughout. As a place without visual busyness, it is currently quietly punctuated by sculptures from the humblest of materials: ceramic. These are 2026 works by Wade Tullier. They establish a presence that feels measured and contained, with a subdued sense of joy.

The exhibition contains a fat totem, two petite wall pieces and a population of tabletop-sized sculptures. The latter sit atop cinderblock pedestals of varying height. This extends and aligns the architecture seamlessly into the installation, a purposeful counterpoint.

From left, Wade Tullier, “Hand with Fruit and Snake,” 2026
ceramic and glaze, 19 x 14 1/2 x 10 in. ; “Snake with Lemon and Boots.” 2026, ceramic and glaze
21 1/2 x 10 x 7 in ; “Boy with Flame,” 2026, ceramic and glaze, 42 x 14 x 15 in (Photo courtesy of Erin Parish)

Tullier titled his show un-evocatively: “Sky, Sea, Fruit, Hand, Seed.” This contrasts with the popular trend toward philosophically or sociologically complex exhibition titles. This probably stems from Damien Hirst’s infamous “The Physical Impossibility of Death in the Mind of Someone Living,” a.k.a. that shark sculpture. There can be an attempt to assign content through the title when it is absent in the works themselves.

However, Tullier describes: “I make sculptures that depict animals, figures, phenomena, and everyday objects. They are always recognizable but become elusive as I continue to reinterpret each piece. In this way, my sculptures act as characters in oral history: they transform as they are retold. While these objects remain familiar and are easily identifiable, the combinations of works remain ambiguous. They echo the layered, nonlinear structure of memory as it is excavated through storytelling.”

An eight-foot-tall totem of stacked fruit anchors the room: from the floor up, a blue hand holds a lemon, an orange and an oversized blueberry topped with an intense red apple. The leaves and fruit stems protrude to set up a rhythmic counterpoint. The scale brings a sense of familiarity into a different register. The configuration could be seen as a recollection of an odd American roadside attraction seen on a cross-country road trip. Without self-conscious “artistry,” its form echoes self-taught art, often appreciated for its revelations and connection to the spirit world.

“Hand with Lemon, Orange, Blueberry, and Apple,” 2026
ceramic and glaze, 96 x 37 x 27 in. (Photo courtesy of Erin Parish)

Positioned to the left behind the fruit, a single white owl rests on a branch segment. The placement carries a precise sense of balance across the width of the room. It punctuates the spread of cinderblocks while maintaining its own space. Here, less is more and we are nudged not to be too serious. However, within this context, more is revealed and it won’t be all fun and games.

Tullier states, “The imagery in my ceramics traces back to the stories I heard as a child growing up in southern Louisiana. The objects I create pull from this history of natural disasters and human-made catastrophes, chance encounters with wildlife, and occasionally my unsettling experience as a forensic sculptor and researcher. My work responds to the natural world in an effort of balancing pleasure with pain and danger with awe.”

A forensic sculptor is a specialist who reconstructs human faces onto unidentified skulls using clay and anthropological data to assist law enforcement in identifying human remains. A combination of science and art, the work adds another layer to the skill on display.

Snakes, hands, birds and vessels repeat in different configurations. The color blocks are simple and imply a child’s creation, yet they are referentially sophisticated. Hands appear in multiple works: holding a palm tree, cupping a small vessel, supporting a red pot with an emerging snake and sad plants — a Garden of Eden reference. Elsewhere, a cross sits atop a Día de los Muertos-like skull on a tree stump.

The snake reappears in “Snake with Lemon and Boots.” This time it is coiled atop black boots and a lemon. As one stands in front of this sculpture and looks down, there is a moment of amusement when one’s shoes echo the boots in the sculpture. You are looking at it. It is looking at you. Each piece contains a soul and the inherent contradictions within.

The stylization of the imagery is like that of milagros charms of Mexico. These are small devotional metal charms used across Latin America to symbolize prayers, gratitude or hopes. Traditionally, they are pinned to saints’ statues or altars as offerings for answered prayers or to ask for healing. These elements circulate and return with slight variation.

“Snake with Lemon and Boots.” 2026,
ceramic and glaze 21 1/2 x 10 x 7 in. (Photo courtesy of Erin Parish)

The glazing seems casual at first. However, it alternates not only in color but also in a specificity of finishes that reiterates each object’s presence in space and in relation to illumination. Surfaces alternate between matte and glossy, catching light. Above the grouping, the gallery lights are arranged like those for a Broadway stage. Color remains restrained, held in blocks with minimal internal variation. The tones stay slightly dulled, allowing each form to maintain its clarity without competing for attention.

Tullier received a BFA from Louisiana State University and an MFA from Cranbrook Academy of Art. His work has been shown nationally and internationally, with recent exhibitions in Miami, Chicago and Detroit.

Across the exhibition, the work builds through a consistency of weight and presence. Forms repeat, relationships remain active. Narrative stays embedded within the material, carried through scale and the placement of symbols. These works use plain speak, and the objects feel as though they could be found on a home altar containing fancy dress dolls, Saint Michael and a series of water-filled glasses.

WHAT: “Wade Tullier: Sky, Sea, Fruit, Hand, Seed”

WHERE: Primary, 7410 NW Miami Court, Miami

WHEN: 11 a.m. Thursday and Friday, noon to 4 p.m. Saturday. Through Saturday, May 30

COST: Free

INFORMATION: (954) 296-1675 and thisisprimary.com

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don’t miss a story at  www.artburstmiami.com.

Between Image and Memory: Alejandro Piñeiro Bello’s ‘ECOS’

Installation view of “ECOS” by Alejandro Piñeiro Bello at KDR, Miami.  (Photo by Rodrigo Gaya, courtesy of KDR, Miami)

In Alejandro Piñeiro Bello’s Little Haiti studio, the horizon is the only straight line.

It cuts across several of the canvases leaning against the walls—sometimes steady, sometimes dissolving into color—but always there, a point of orientation in paintings that otherwise refuse to settle. Around the room, forms emerge and dissolve: spirals, birds, clouds, fleeting figures. The space feels in motion, as if each painting were still in the process of becoming.

He is tall, with a focused, attentive energy; his movements are deliberate. In the studio, that attention informs how he sees. He speaks of clouds not as images to reproduce, but as edges to follow: a contour shifts, stretches, becomes a line. In his work, what begins as observation loosens into gesture, into something less fixed. A cloud becomes a curve; a curve turns into rhythm, and the paintings move between abstraction and figuration without fully belonging to either.

Alejandro Piñeiro Bello, “La Tormenta,:” 2026, Oil on linen, 23 x 29 in.
(Photo by Rodrigo Gaya, courtesy of KDR, Miami)

“ECOS,” Piñeiro Bello’s current exhibition at KDR in Miami, on view through Saturday, May 23, presents a body of work from the past year that expands this approach. Rather than building a single narrative, the show develops as a system of echoes: ideas, images, and sensations that return across the canvases, altered. This openness extends to the material. Drawing from watercolor, Piñeiro Bello applies oil in thin, wash-like layers, so the surface holds color without weight: fluid and open. Forms gather and dissolve: an eye might emerge from a field of blue only to fold back into it.

In “La Tormenta (The Storm),” the surface thickens into a dense field of blues and violets, where forms surface and submerge at once. An eye appears near the center, suspended within a shifting mass that could be water or sky. Around it, fragments of bodies—limbs, profiles—emerge only to dissolve again. Nothing holds for long; the painting resists a fixed image, gathering sensations that move between recognition and dissolution.

Alejandro Piñeiro Bello, “Tres Lindas Cubanas,” 2026, Oil on linen, 82 x 118 in.
(Photo by Rodrigo Gaya, courtesy of KDR, Miami)

For Katia Rosenthal, director of KDR, the exhibition unfolds less as a sequence than as a shift in feeling. “There’s a progression through the space from canvas to canvas,” she says, “not linear, but more emotional. As you move through the exhibition, something opens up; by the time you reach the larger paintings, you feel like you’ve traveled somewhere.” That movement is built through repetition. “A color or symbol in one painting reappears in another across the room, shifted in temperature or saturation,” she notes. “That repetition with variation is the architecture of the show—you’re moving through something that rhymes with itself.”

Language sits at the origin of this process. Piñeiro Bello keeps notebooks filled with phrases drawn from literature, music, and conversation that he later returns to. Books remain close to the canvases—spines worn, marked, returned to—so that reading and painting stay intertwined. He speaks of returning to writers such as Fernando Ortiz and Alejo Carpentier, not as references but as points of departure. These phrases are not captions added after the fact, but starting points. “They are like sketches,” he says. “I collect them, and then I organize a set of ideas.” Music is never far from that process.

Alejandro Piñeiro Bello, “Adios A Cuba,” 2026, Oil on linen, 90 x 90 in.
(Photo by Rodrigo Gaya, courtesy of KDR, Miami)

Nearby, a turntable sits beside a keyboard on a table, surrounded by small photographs, postcards, and scattered objects. Music moves through the studio.

In “Adiós a Cuba” (Farewell to Cuba), a horizon stretches across the canvas beneath a luminous sky, while color moves restlessly below it, folding and drifting out of form. Birds cross the surface—elongated, almost weightless—their bodies suspended between flight and transformation.

 The title refers to a piano composition by Ignacio Cervantes (1847-1905), written in 1875 during his exile from Cuba, a detail Piñeiro Bello kept returning to as he worked. 

The painting does not mourn the island; it holds the difficulty of leaving it—how something can remain vivid, even radiant, while no longer remaining inhabitable. The birds read as figures in passage, carrying both departure and what cannot be fully left behind. Their elongated forms recall the hybrid figures of Wifredo Lam, whom Piñeiro Bello invoked in the studio not as citation, but as a presence that continues to emerge.

Alejandro Piñeiro Bello, “El Abrazo Del Mar,” 2025, Oil on linen, 65 x 140 in.
(Photo by Rodrigo Gaya, courtesy of KDR, Miami)

If “Adiós a Cuba” moves through departure, “El abrazo del mar” (“The Embrace of the Sea”) holds the opposite tension. A vast horizon divides sea and sky with unusual clarity. Yet beneath it, color refuses to settle. Lines ripple, expand, and collapse into one another, as if the painting were holding together multiple states at once: stillness and movement, surface and depth.

The horizon here is not only spatial, but temporal. It marks a threshold between what lies behind and what lies ahead. For those who have left the island, it is both limit and possibility, a line that separates while also suggesting passage. In the artist’s work, that ambiguity remains unresolved.

Alejandro Piñeiro Bello, “Espirales De Nubes,” 2026, Oil on linen, 24 x 35 in. (Photo by Rodrigo Gaya, courtesy of KDR, Miami)

If these images feel expansive, even dreamlike, they are not nostalgic. Piñeiro Bello is clear about that. His relationship to Cuba is shaped by distance—eight years now—and by the impossibility of return. “The farther I go from Cuba,” he says, “the more Cuban I become.” Memory, in his work, is not a return to what was, but something constructed in the present: layered, reworked, carried forward.

The horizon remains, but nothing else settles. Across “ECOS,” forms resist becoming fixed—color continues to shift, images return only to dissolve again. The paintings do not fix memory into image; they keep it in motion, shifting, returning, continually reworked.

WHAT: “Ecos”

WHERE: KDR, 790 NW 22nd Street, Miami

WHEN: 11 a.m. to 5 p.m. Tuesday through Saturday. Through Saturday, May 23

INFORMATION: (305) 392.0416 and KDR

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com.

Dahlia Dreszer Turns Memory Into Bloom at Miami Beach Botanical

“All That Remains” by Dahlia Dreszer is on exhibition at the Miami Beach Botanical Garden through Tuesday, May 26. Dreszer is also hosting workshop events throughout the month. (Photo courtesy of the artist)

Dahlia Dreszer’s “All That Remains,” on view at the Miami Beach Botanical Garden, is less a conventional exhibition than an immersive environment shaped by suspended photographic panels, preserved flowers rescued from past celebrations, and an AI-generated digital counterpart of the artist herself. The Miami-based, Panama-born artist transforms the garden’s gallery into a meditative space where large-scale photographic still lifes, dried botanicals, and technology coexist in thoughtful dialogue about memory, loss, and preservation. 

Dreszer’s practice has long explored identity, heritage, and the construction of home across diasporic experience. Rooted in her Latin American and Jewish background, her work often uses carefully staged imagery to merge the intimate and the symbolic.

Artist Dahlia Dreszer stands within her exhibition “All That Remains” at the Miami Beach Botanical Garden, where suspended photographic works and preserved organic materials create an immersive meditation on memory and transformation. (Photo courtesy of the artist)

In “All That Remains,” however, those concerns become more personal and more vulnerable. The project was sparked by the death of her grandmother, Lily R. Rose, who named the artist after the dahlia flower and shared with her a lifelong love of gardens and preservation. 

That family connection anchors every aspect of the show. Dreszer explained that after her grandmother passed away, she began what she calls “rescue missions,” collecting discarded floral arrangements after weddings and events. Flowers destined for the trash became the raw material for remembrance. Hung upside down in bathtubs, closets, and corners of her home, they were dried, cataloged, and stored for years until they reemerged here as sculpture and image. What others considered waste became an archive. 

This act of salvaging gives the exhibition its emotional core. Dreszer is not simply preserving petals; she is preserving gestures, rituals, and relationships. She has described the flowers as symbols of family, aging, beauty, and impermanence. Those themes are evident throughout the installation, where the dried blooms carry a haunting elegance. They no longer possess the lush freshness associated with celebration, yet they have gained something deeper: history. 

Detail view of Dahlia Dreszer’s photographic work “All That Remains VIII,” where a preserved flower intersects with layered color and light, reflecting themes of impermanence and constructed memory. (Photo courtesy of the artist)

The photographs themselves are sumptuous and meticulously composed. Dreszer stages each image as a hybrid of still life, portrait, and psychological landscape. Wilted florals mingle with reflective heirlooms, painted surfaces, and found objects, many passed down through generations or carried through previous bodies of work. Vases and mirrored surfaces subtly reveal traces of the artist herself — a silhouette here, the glint of a camera there. She is both maker and participant, visible yet elusive. 

That tension between presence and disappearance is one of the exhibition’s strongest  qualities. Dreszer’s images feel theatrical, but never artificial in a hollow sense. She embraces staging as a way to tell truths that documentary realism cannot. Her camera, she suggests, is as interpretive as a paintbrush. The resulting works occupy an in-between space where reality is heightened, memory is choreographed, and symbolism blooms from everyday materials. 

Color plays a central role. Saturated reds, golds, and vivid tropical hues pulse through the compositions, recalling both Latin American visual culture and the emotional charge of family memory. Red, in particular, appears as a recurring note of vitality. Dreszer has connected it to her grandmother’s belief in optimism and resilience. Here it becomes a thread linking grief to celebration. 

The Botanical Garden provides an inspired setting. Outside the gallery walls, living plants continue their own cycles of budding, flowering, and decay. Inside, Dreszer presents flowers arrested in time. The contrast sharpens the exhibition’s central question: what does it mean to preserve something that was meant to fade? The scent of dried florals reportedly meets visitors as they enter, blurring boundaries between artwork and environment. Even the custom hanging structures were designed to respond to the gallery’s limited wall space and floor-to-ceiling windows, allowing natural light to participate in the installation. 

An interactive digital component, “Clone Dahlia,” in Dahlia Dreszer’s “All That Remains” invites viewers to engage directly with the artist’s image. (Photo courtesy of the artist)

Yet “All That Remains” is not nostalgic. One of its most surprising dimensions is technological. A centerpiece of the exhibition is “Clone Dahlia,” an AI-generated digital version of the artist that interacts with visitors in real time. Rather than treating artificial intelligence as a gimmick or a threat, Dreszer frames it as a collaborator and a vessel. The clone responds to questions about the work, asks visitors about their own memories, and stores those exchanges as an evolving oral archive. 

This component could have felt trendy or distracting. Instead, it extends the show’s larger themes with intelligence. If flowers can preserve memory materially, perhaps technology can preserve it conversationally. If family stories risk disappearing with each generation, perhaps new tools can help carry them forward. Dreszer does not offer easy answers, but she asks timely questions about authorship, legacy, and simulated presence. 

Importantly, the AI element never overshadows the tactile richness of the physical work. The true power of the exhibition lies in its material intelligence: brittle petals, fragile stems, faded blossoms, and reflective surfaces, arranged with painterly care. Dreszer understands that grief is experienced through objects as much as ideas. We keep the scarf, the vase, the bouquet, and the letter. We assign emotion to matter because matter outlasts the moment. 

There is also generosity in the project. Dreszer has spoken of wanting visitors to discover their own meanings rather than be told what to think. That openness gives the exhibition broad resonance. One need not share her biography to feel the poignancy of trying to hold onto something already passing. 

Miami’s art scene often prizes spectacle, speed, and novelty. “All That Remains” offers something rarer: slowness, reflection, and tenderness. It asks viewers to look carefully at what has withered and to recognize beauty there. It reminds us that endings can be fertile ground for transformation. 

In a city built on reinvention, Dreszer has created a quietly moving show about what survives it. “All That Remains” is less concerned with loss than with continuity — the ways love lingers in color, in gesture, in flowers rescued from the edge of disappearance. 

WHAT: Dahlia Dreszer: All That Remains 

WHERE: Miami Beach Botanical Garden, 2000 Convention Center, Miami Beach 

WHEN: 9 a.m. to 5 p.m., Tuesdays through Sundays. Through Tuesday, May 26. Mother’s Day Floral workshop, 2 to 4 p.m., Sunday, May 10; 6:30 p.m., Wednesday, May 20, artist talk Dahliah Dreszer in conversation with José Carlos Díaz (chief curator, Pérez Art Museum Miami); 11:30 a.m., Thursday, May 21, Flower Crown workshop 

COST: Free but RSVP requested. 

INFORMATION:  (305) 673-7256 and mbgarden.org 

 ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don’t miss a story at www.artburstmiami.com.  

HistoryMiami becomes Museum of Miami in shift toward county-wide outreach

The new Museum of Miami, formerly the HistoryMiami Museum. (Photo courtesy of Museum of Miami

The institution known for almost two decades as HistoryMiami Museum is changing its name to the Museum of Miami to reflect a countywide “museum without walls” mission.

The name change is only a small part of a deeper transformation for one of the oldest cultural institutions continuously operating in South Florida, and housed inside the Miami-Dade Cultural Center area downtown on West Flagler Street.

“It’s more than a name change. That’s just the visible part,” says Natalia Crujeiras, chief executive officer of Museum of Miami. “It’s really about a deeper shift about how we think a museum can really, truly serve a city like ours.”

The shift follows three years of research and listening sessions in neighborhoods across Miami-Dade — from Homestead to Overtown and Liberty City to Miami Beach, according to Crujeiras. The recurring message was that HistoryMiami Museum “made a lot of people feel like they didn’t belong here, or our content was not for them.”

A “Wish Wall” will invite Miamians to imagine the future of their city and their country. (Rendering courtesy of Museum of Miami)

For some, the word “history” was the stop gap.

“The word history felt sometimes distant or like a school assignment,” she explains. “Or for many people that come from other places, there was a deeper connection for the places of their home countries or the places they relocated from.”

While she maintains that the museum will still serve as a repository of the area’s history, it will broaden its accessibility.

“In many ways it’s kind of we’re expanding our scope, rather than limiting it to one tool or one discipline,” she says. “History is a core component of what the museum does, but we also care about culture and art and community; all of the things that make Miami, Miami.”

Natalia Crujeiras, Museum of Miami’s CEO and Executive Director. (Photo  Museum of Miami)

The rebrand, says Crujeiras, is rooted in a bigger question: What does it mean to be a Miamian, and how do people feel they belong here?

“Miami is one of the fastest growing and most dynamic cities in the world, and that diversity makes us exciting and dynamic, but it also comes with a cost. Neighborhoods change quickly. Community shifts. New residents arrive, and many are not connected to Miami. For many it’s hard to answer a question like, ‘What is a Miamian? How do I fit in this place?’”

One of the most concrete shifts is how the Museum of Miami will show up for residents. She says that there shouldn’t be an expectation that people will make their way downtown to visit the museum.

“We realized that we can’t continue to wait for people to come to us only,” Crujeiras says. “What we heard is that Miamians want us to come to them as well.”

The museum will keep its West Flagler Street home as “a hub, a place where you can access our collections and see our extraordinary artifacts” — but the new strategy is to get out into the community.

“We want to have programs, experiences, exhibitions across the entire county.”

The “museum without walls” model was well underway before the name change was announced.

“We just had a program in Miami Dade College’s Homestead campus, connected to our current exhibition, but we brought the program to that community, and it’s really leaning into that, in making sure that every place in Miami can be a vehicle to take our stories. We want to be wherever people live, learn and gather.”

Even as it moves forward, the Museum of Miami maintains its deep roots.

The courtyard of the HistoryMiamiMuseum, now the Museum of Miami. (Courtesy of Museum of Miami)

Originally formed as the Historical Association of Southern Florida and founded in 1940, it moved through several homes and evolutions before becoming HistoryMiami Museum and, now, Museum of Miami. The original name was the Historical Association of Southern Florida.

“We began with collecting little things in a storage cabinet at the University of Miami,” says Crujeiras. Over time, it became a collecting institution and in the 1980s, Miami-Dade County built the Cultural Plaza to house the main library and what was then the Center for Fine Arts and the then Historical Association of Southern Florida.

Its name was changed to the Historical Museum of Southern Florida in 1962 and then HistoryMiamiMuseum in 2010.

The museum holds what Crujeiras calls “the largest leading archive about Miami.”

“We have the first photos, the glass negatives, the first images that were taken of Miami in the late 1800s; letters of exchange between Henry Flagler and Julia Tuttle to convince him to build the railroad. We have over two million photographs and more than 40,000 artifacts.”

A letter from the late 1890s from Henry Flagler to Julia Tuttle, as part of their correspondence for Flagler to extend his railway to Miami is in Museum of Miami (formerly the HistoryMiami Museum’s) archives. (Photo courtesy of Museum of Miami)

There are also emotional tales reflected in installations. “We have rafts used by Cuban refugees and Haitian refugees. That shows really the trauma and the risk and the hope and opportunity for so many of our community members that had to have been forced to relocate seeking freedom.”

And one of the most popular attractions is the electric trolley from the 1920s.

“It was the main vehicle for public transportation in the 1920s, which happened to be segregated. We can have a conversation about that part of our history in an artifact where you can actually get in and sit down. It is very personal and very emotional to try to put yourself in the experience of people that came before us.”

As part of its new chapter, the Museum of Miami will host a rare traveling exhibition from the National Archives.

As the museum reaches beyond its walls, it’s also rethinking how people experience its stories. (Photo rendering of Wish for America wall courtesy of Museum of Miami)

The Smithsonian affiliate is one of only eight sites in the country that the National Archives has chosen to show “the original documents that forged our nation,” Crujeiras says. “For the Fourth of July, starting on Saturday, June 20 and through Sunday, July 5, we will have the Oath of Allegiance signed by Washington and Hamilton and Burr. We’re going to have the Treaty of Paris. We’re going to have the first annotated version of the Bill of Rights. These are the original documents of our country.”

The exhibit will be paired with an interactive mural inviting Miamians to imagine the future of their city and country.

“We’re inviting Miamians to dream up what is the country and the city they want to build for the future and asking based on what Miami is today, ‘What is it you want to see in the future?”

As the museum reaches beyond its walls, it’s also rethinking how people experience its stories.

“We need to understand that, especially young audiences, consume content in a different way, and they want to have interactivity and digital stuff, and they want to lead what they experience. We’re making efforts to digitize more things from our collection, to make it accessible.

She says she hopes the rebrand will awaken old memories and power forward a new momentum.

“I think this institution holds important memories of our community, and we want to turn that memory into motion and to think, ‘Okay, what is it that Miami wants to become, and how we can use this place as a vehicle to build that understanding?’ ”

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com

Across Centuries and Cultures: ‘The Light of the World’ Traces Images of Christ in Art

Olga M. and Carlos A. Saladrigas Gallery at Belen Jesuit Preparatory School presents “The Light of the World,” curated by Carol Damian and Adriana Herrera, on view through Wednesday, May 6. (Photo by Phillip Karp, courtesy of Ignacio Font)

At the Olga M. and Carlos A. Saladrigas Gallery at Belen Jesuit Preparatory School, “The Light of the World” bridges historical reverence with contemporary relevance. Curated by Carol Damian, a longtime Miami art historian and former director of FIU’s Patricia & Phillip Frost Art Museum, and Adriana Herrera, an independent curator and writer focused on Latin American art, the exhibition traces artistic interpretations of Jesus Christ across centuries, cultures and media.

Rather than presenting devotion as fixed, the exhibition reveals it as something shaped by culture, memory, and lived experience. Moving through the gallery, viewers encounter a dialogue between past and present—one that reflects both continuity and transformation.

A 17th-century Cuzco School painting of “St. Joseph with the Christ Child” introduces this dialogue with quiet intimacy. The composition is tender and grounded: Joseph cradles the child, both figures haloed and framed by delicate floral motifs. The work carries the visual language of colonial Latin American religious painting, yet its emotional accessibility feels immediate. It sets the tone for the exhibition’s central premise—that sacred imagery, while rooted in tradition, is always evolving in its expression.

A Belen Jesuit student views Brazilian artist Vik Muniz’s “The Crucifixion, after Thomas Eakins” (2011), collage, in “The Light of the World,” curated by Carol Damian and Adriana Herrera, on view through Wednesday, May 6. (Photo by Suzzane Sardina and Ignacio Font, courtesy of Saladrigas Gallery at Belen Jesuit Preparatory School)

That evolution becomes strikingly apparent in contemporary works that reinterpret canonical imagery through new materials and perspectives. Brazilian artist Vik Muniz’s “The Crucifixion,” after Thomas Eakins (2011), transforms a familiar scene into a densely layered composition constructed from fragments of printed media. From a distance, the crucified figure is clearly legible. Up close, however, it dissolves into a chaotic accumulation of images—faces, textures, and visual debris—suggesting a world overwhelmed by information. In Muniz’s hands, the crucifixion becomes not only a symbol of sacrifice but also a reflection of contemporary visual culture, where meaning is both constructed and obscured.

Material experimentation continues in Stella Bernal de Parra’s “Mi Cristiano” (1973), a suspended textile that evokes the human body through woven wool and elongated strands. The work resists direct representation, instead suggesting presence through form and gravity. Hanging in space, it reads as both garment and relic, its tactile surface emphasizing labor and devotion. The piece invites viewers to consider faith not as an abstract concept, but as something embodied—stitched, woven, and carried over time.

Narrative returns powerfully in Darío Ortiz’s “The Last Supper” (2026), where the biblical scene is relocated to a contemporary environment marked by subtle signs of instability. The figures surrounding Christ wear modern clothing, their gestures subdued and contemplative. Rather than dramatizing the moment, Ortiz renders it as a quiet gathering, emphasizing the story’s human dimension. The work suggests that the sacred does not exist outside of history, but continues to unfold within it.

ilvia Dorfsman, local art dealer and appraiser, views Karim Borjas’ “Ecce Homo” (2006), a photographic installation featuring red strings, while Olga Garcia-Mayoral, curator and writer, reflects on Erik Ravelo’s “Señor, Dame Luz” (2009), a C-print in “The Light of the World”  at the Olga M. and Carlos A. Saladrigas Gallery at Belen Jesuit Preparatory School. (Photo by Teresa Martinez, courtesy of Ignacio Font)

The exhibition also foregrounds artists who engage sacred imagery through inherited craft traditions. In Jesús Tax’s “Sustained Investigation” (2022), Christ’s face emerges through an intricate network of threads stretched across nails. The technique, rooted in textile, practices passed down through generations, transforms the act of making into a devotional gesture. The tension of the threads creates a dynamic surface, where image and structure are inseparable, reflecting both fragility and resilience.

Elsewhere, Pablo Cano’s “Westinghouse Basilica” (1979) reimagines the icon through found objects. A vintage refrigerator becomes a devotional structure, its doors opening to reveal painted religious imagery. The work carries a subtle humor and a deeper resonance: it collapses the boundary between the sacred and the everyday, suggesting that spirituality can inhabit even the most ordinary spaces.

Drawing plays a quieter yet equally significant role in the exhibition. In works by Fernanda Frangetto, including her “Via Crucis series” and “The Risen Jesus”, the figure of Christ dissolves into fields of color. Rendered in soft charcoal and pastel tones, the images feel ephemeral, as if emerging from light itself. Rather than defining the body, Frangetto allows it to disperse, emphasizing sensation over structure. These works offer a moment of stillness within the exhibition, inviting contemplation through their subtlety.

Throughout the gallery, the curatorial vision becomes increasingly clear: this is not simply an exhibition about representation, but about interpretation. Each artist approaches the figure of Christ from a distinct perspective, shaped by geography, material, and personal experience. Together, the works form a constellation of voices that expand the meaning of sacred art beyond any single tradition.

Installation view of “The Light of the World,” curated by Carol Damian and Adriana Herrera, at the Olga M. and Carlos A. Saladrigas Gallery at Belen Jesuit Preparatory School, on view through Wednesday, May 6. (Photo by Phillip Karp, courtesy of Ignacio Font)

What makes “The Light of the World” particularly compelling is its ability to bridge historical reverence with contemporary relevance. The exhibition does not attempt to resolve the tension between past and present; instead, it allows that tension to remain visible. In doing so, it reflects the ongoing role of art in shaping our understanding of spirituality, identity, and community.

In a cultural moment often defined by fragmentation, the exhibition offers something quieter yet enduring: a space for reflection. Through painting, textile, drawing, and assemblage, these artists remind us that the sacred is not static. It is something continually reimagined—held, questioned, and brought into the present through acts of creation.

WHAT: The Light of the World

WHERE: Olga M. and Carlos Saladrigas Art Gallery, Ignatian Center for the Arts, Belen Jesuit Preparatory School, 500 SW 127 Ave., Miami

WHEN: 8 a.m. to 4 p.m., Wednesday and Thursday or by appointment. Through Wednesday, May 6. Closing reception from 7 to 9 p.m., Wednesday, May 6.

 COST: Free

INFORMATION: (786) 621-4170 or ifont@belenjesuit.org

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com

‘Anchors of Light’ Reframes 30 Years of MOCA North Miami

Luis Gispert, “Untitled (Living Room)” 2003 is part of “Anchors of Light” at the Museum of Contemporary Art, North Miami, and features many artists from the museum’s history. The show is on display through Sunday, Oct. 4. (Photo courtesy of the artist and the Museum of Contemporary Art, North Miami)

As the Museum of Contemporary Art North Miami celebrates its 30th anniversary, a new exhibition is as much about looking back as it is about moving forward.

Focusing on works from the museum’s collection, “Anchors of Light,” which opened on Wednesday, April 15, features many artists from the museum’s history. Nearly 50 artists are represented in a presentation that spans historical artists (Robert Rauschenberg, Claes Oldenberg), past retrospective subjects (Maryan S. Maryan, Edouard Duval-Carrie), and beloved locals (Purvis Young, Pepe Mar).

Alfredo Jaar, “A Logo for America,” 1995. (Photo courtesy of the artist and the Museum of Contemporary Art, North Miami)

But it’s also a platform for ambitious new voices. The museum invited Catherine Camargo, a Miami native and founder of the ultracontemporary Queue Gallery, to curate the show. Camargo is known for consciously programming art that runs against the usual perceptions of Miami’s scene, and her predilection towards dark and muted colors and unconventional materials shines through. A perfect example comes in the Will Boone painting that gives the show a bold opening statement. “Widowmaker” features horizontal gray and black stripes underneath a thin, pink circular outline that can be taken for a solar form, an apt visual metaphor for Miami as a place where sunny weather often provides a thin façade for moral shades of gray.

“The guest curator program at MOCA overall has a goal of providing a platform for different voices and perspectives,” says Chana Sheldon, the museum’s executive director, “and bringing in someone like Catherine to have a fresh look at works that our team and some of our visitors know always brings about really exciting results.”

One interesting segment comes in the form of a “video corridor,” in which a group of six flat-screen TVs protrude from the walls, allowing visitors to watch video artworks as they walk through. Camargo says the idea came from space constraints: she wanted to show multiple video works but didn’t want to build multiple separate screening rooms, such as the one reserved for the Ragnar Kjartansson installation “God.”

The museum invited Catherine Camargo, a Miami native and founder of the ultracontemporary Queue Gallery, to curate the show. (Photo by Zachary Balber)

“I knew I couldn’t have a room for each piece,” she says. “They have a lot of amazing films in the collection, and I was getting to the point where my list of works to be shown felt never ending. And I was worried about space. So I came up with the idea of having a video corridor so that I could arrange these videos in a way where people can still interact with it.”

That ingenuity also came in handy when confronted with another critical issue, the size of the collection and the works that are no longer there. Although MOCA’s collection of some 600 artworks is smaller than other local institutions – the Pérez Art Museum Miami claims almost 3,000 pieces, while the privately-owned Rubell Museum owns over 7,700 – its age reflects the museum’s pioneer status within the local art scene. The collection is as old as the museum building itself, which opened in 1996 as an evolution of the former Center for Contemporary Art under Bonnie Clearwater, now director and chief curator at NSU Art Museum Fort Lauderdale.

The “Miami School” section focuses on works from artists that made their careers in South Florida, such as Cano, Robert Chambers, and Purvis Young. (Photo by Zachary Balber)

“The idea was to create a program and a collection that would resonate with the South Florida art audiences, and also…that it would be an international museum located in North Miami,” Clearwater says. “We were a hybrid between a community center and an international museum of contemporary art, and we basically were able to maintain that vision all the way through and bring some of the best works to Miami, as well as bringing attention to the incredible, dynamic artist scene that was developing at that time.”

Under Clearwater’s leadership, MOCA quickly made a name for itself exhibiting major contemporary artists, giving retrospectives to starry names such as Keith Haring and Roy Lichtenstein as well as platforming locals such as Pablo Cano and Teresita Fernandez. Few other local institutions were seriously collecting at the time, and some hadn’t even been founded yet in the pre-Art Basel period.

After she left in 2013, a bitter dispute ensued between the City of North Miami, which owns the museum, and the board, which included collectors such as Irma Braman and Ray Ellen Yarkin. Both the city and the patrons made ownership claims on the museum’s collection, and a settlement resulted in MOCA retaining the majority but losing a portion of key objects as the board defected to form the Institute of Contemporary Art, Miami.

Since then, MOCA has continued to platform major contemporary artists, but in a way that centers North Miami’s diverse population. Recent years have seen shows from Haitian heritage artists like Manuel Mathieu and Didier William as well as art world stars like Cecilia Vicuña and Lonnie Holley, and the museum is one of the few in the United States that provides artwork information in Haitian Creole.

Pat Steir, “From the Sea, Wave After Courbet,” 1984. (Photo courtesy of the artist and the Museum of Contemporary Art, North Miami)

Still, Camargo found she had less to work with than she expected. The ICA ended up taking pieces by big name artists including James Turrell, Ed Ruscha, Dan Flavin and Raymond Pettibon. “The ICA split definitely did alter what was left in the collection and kind of changed a lot of the story I was able to tell,” she says. “It forced me to focus on what remained, and there were still so many gems that I was able to pull out, and that was exciting. But that was definitely something that presented itself as a challenge.”

So, how does a curator tell a comprehensive story when so many of the pieces that form MOCA’s history are unavailable? Certainly, a few big names are still present, including a video installation from Ragnar Kjartansson and works on paper from Pat Steir and Jose Bedia.

Beyond that, it came down to celebrating Miami and its artists. The “Miami School” section focuses on works from artists that made their careers in South Florida, such as Cano, Robert Chambers, and Purvis Young. Connections are made to a show curated by Clearwater, “Defining the ‘90s,” that was one of the first attempts at placing Miami on the same level as New York and Los Angeles as a major contemporary art scene.

Works throughout “Anchors of Light” reflect the themes that animate the artistic discourse that takes place in South Florida. (Photo by Zachary Balber)

Works throughout the show reflect the themes that animate the artistic discourse that takes place in South Florida. Artworks in “The Body” reflect the city’s obsession with the material world, from Tom Wesselman and Alex Katz’s pop-centric odes to skin contact to Luis Gispert’s photo of his own Cuban family’s living room, decorated floor to ceiling with faux-baroque kitsch.

Alfredo Jaar’s “A Logo for America” famously recenters the broader Latin conception of the bi-continental landmass, arguing against U.S. exceptionalism – appropriate for a city that considers itself the capital of Latin America.

Much has changed in Miami in the 30 years since MOCA’s founding, but as many moments in “Anchors of Light” attest to, just as much has remained the same.

 WHAT: “Anchors of Light”

 WHEN: Through Sunday, Oct. 4.

 WHERE: Museum of Contemporary Art North Miami, 770 NE 125 St., North Miami

 COST: $10 for general admission; $5 for seniors, students with ID, youth ages 12 to 17, and visitors identifying as disabled; free for children under 12, North Miami residents, city employees, veterans, and caregivers of disabled visitors.

 INFORMATION: 305-893-6211 or mocanomi.org

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com

‘Get in the Game’ at PAMM Puts Sports and Art on a level playing field

Hank Willis Thomas’ 2016 work “Guernica,” a mixed-media work that recreates Pablo Picasso’s famous antiwar image with NBA jerseys instead of human figures is featured in “Get in the Games: Sports, Art, Culture,” at Pérez Art Museum Miami (PAMM) through Sunday, Aug. 23. (Photo courtesy of the artist and Jack Shainman Gallery, New York) 

Pick a side: the clamor of the stadium or the calm of the museum. Are you Team Sports or Team Arts? At the Pérez Art Museum Miami (PAMM), “Get in the Game: Sports, Art, Culture” challenges the age-old divide to bridge the cultural gap between the two.

The exhibition aims to reconcile the athlete’s arena and the artist’s studio and serves as a reminder that whether someone wears a jersey or a museum wristband, the quest for excellence remains the same.

On display through Sunday, Aug. 23, “Get in the Game” features more than 100 works by artists from around the world and showcases sports memorabilia, including vintage sneakers, racing equipment, and Fédération Internationale de Football Association (FIFA) Men’s and Women’s World Cup soccer balls from 1930 to 2023.

Emma Amos’s “Hurdlers I” (1983) blends painting and textile, depicting women athletes in mid-leap while incorporating handwoven elements that reference African kente cloth. (Photo by Lazaro Llanes, courtesy of Pérez Art Miami Museum)

Organized by the San Francisco Museum of Modern Art and presented in Miami with locally focused additions, the exhibition arrives in the wake of events like the Miami Open and as the Magic City continues to host global spectacles such as Formula 1 in May while preparing for the FIFA World Cup 2026 at Hard Rock Stadium in July.

Franklin Sirmans, PAMM’s director and organizer of the museum’s presentation, believes the timing adds to its significance. “I think sports and arts deserve deeper exploration in museum exhibitions,” he says. “This show is at PAMM in a year of unprecedented presentations of sport on the national and world stage.”

He sees the exhibition not just in terms of what spectators witness on the field, court, or track, but also in how those events resonate in memory and imagination. “The exhibition pauses and creates space for conversations and reflections on how these events impact us,” Sirmans explains.

Ernie Barnes’s “Fumble in the Line” (1990), where football players are depicted in exaggerated, almost sculptural forms. (Photo by Lazaro Llanes, courtesy of Pérez Art Miami Museum)

Fabiana A. Sotillo, a curatorial assistant and co-curator of PAMM’s show, says her outsider perspective on sports shaped how the exhibition was recontextualized for local audiences. “When I started working on the presentation of ‘Get in the Game’ at PAMM with Franklin, I was aware that this show would be a challenge for me due to the fact that I am not as knowledgeable about sports as Franklin is,” she shares. “However, what I thought would be a disadvantage for us ended up being a very valuable aspect of our presentation in Miami.”

As the curator and writer of the exhibition’s materials, Sotillo explains that her unfamiliarity allowed her to consider visitors who might feel intimidated by sports, as well as those who might feel they would be out of place in a contemporary art museum. “My lack of sports knowledge ended up being an advantage, since I really catered the exhibition materials to those who may be intimidated by the idea of sports, but also considered the other side of the coin: those who might be intimidated by art,” she says. “We were able to build a presentation that truly caters to every type of visitor: sports fans, art admirers, young visitors, etc.”

“I think sports and the arts are worthy of much deeper exploration in museum exhibitions,” says Franklin Sirmans, director of Pérez Art Museum Miami and organizer of the museum’s presentation of “Get in the Game: Sports, Art, Culture.” (Photo by Lazaro Llanes, courtesy of Pérez Art Museum Miami)

As a result, the exhibition is divided into six thematic sections: Fandom, Winning and Losing, Breaking Records and Rules, Count Me In, Field of Play, and Mind and Body. Sotillo emphasizes the goal is not to dictate a story but to create a space where viewers can connect with both fields without needing any prior expertise.

“Sports, arts, culture—these are all community builders,” Sotillo says. “Both athletes and fans experience such intense emotions during competitions, and art is all about capturing emotions and expressing ideas.”

This focus on emotion appears in works like Ernie Barnes’s “Fumble in the Line” (1990), which depicts football players in exaggerated, almost sculptural forms. Their bodies collide in a chaotic struggle that reflects both the brutality and beauty of the game. Barnes, a former professional football player, is known for translating his personal experiences into art that highlights movement, tension, and rhythm.

Featuring more than 100 works by artists from around the world—including highlights from PAMM’s collection—”Get in the Game” demonstrates how sport has inspired both personal expression and shared cultural memory. On display at PAMM through Sunday, Aug. 23. (Photo by Lazaro Llanes, courtesy of Pérez Art Museum Miami)

Emma Amos’s “Hurdlers I” (1983) blends painting with textiles, showing women athletes mid-leap while incorporating handwoven elements that reference African kente cloth. The piece links physical endurance with cultural identity, considering the show’s broader themes of how sports intersect with race, gender, and history.

One of the most striking pieces is Hank Willis Thomas’ 2016 work “Guernica,” a mixed-media work that recreates Pablo Picasso’s famous antiwar image with NBA jerseys instead of human figures. According to art curator Jason Jenn, this piece prompts the viewer to reflect on how themes of war and sacrifice in the original piece relate to the struggles faced by professional athletes and the challenges they overcome to entertain fans.

Nearby, Holly Bass’ “NWBA (Jordan)” (2012) captures the artist mid-air, her silhouette transformed with basketballs in a photo that is playful, athletic, glamorous, and critical.

Holly Bass’ “NWBA (jordan)” 2012 freezes the artist in midair, her silhouette transformed through the incorporation of basketballs in a photograph. (Photo by Lazaro Llanes, courtesy of Perez Art Miami Museum)

Bass says the image was inspired by Michael Jordan’s iconic “Jump Man” logo, which itself has roots in dance. “It was originally inspired by a photo of Jordan imitating a ballet dancer doing a grand jeté,” she says. “So it’s kind of like art imitating sports imitating art.” She emphasizes that the work’s athleticism is real, not simulated. “This isn’t Photoshop or some kind of wire suspending me in the air. I’m a trained dancer.”

The exhibition frequently revisits the theme of bodies under pressure, whether in triumph, strain, spectacle, or change. Jake Troyli, a professional artist who lives in Brooklyn and whose work is included in “Get in the Game,” played Division I basketball at Presbyterian College in Clinton, S.C. He says his background in sports has shaped his views on performance and spectatorship. “As I started to gain some distance between myself and my time playing in the NCAA, I began to turn a critical eye toward the dynamic of the spectator/spectacle relationship,” he says. “What does it mean to perform? What does it mean to perform for a hungry audience? What does it mean for so much of a person’s self or self-worth to be tied up in the results of the performance?”

Jake Troyli, a professional artist who once played Division I basketball in college said his experience as an athlete led him to think more critically about performance and spectatorship. (Photo courtesy of the artist)

These questions extend beyond sports; they also relate to the conditions many artists face, particularly in public forums where creation and judgment feel immediate. This parallel resonates with artist Cheryl Pope, who is both a visual artist and a boxer. Pope, who won the Chicago Golden Gloves in 2014, considers boxing fundamental to her understanding of art. “My experience of boxing has been critical to my understanding of being an artist,” she says. Training and competition taught her discipline, positive thinking, and how to manage risk, which later informed her studio practice.

The exhibition’s educational programming is also designed to show how sports can connect visitors to museums. Marie Vickles, PAMM’s senior director of education, says the show offers “a really exciting and accessible entry point for visitors of all ages and backgrounds to engage with art via an avenue that everyone is familiar with—sports.” Her team has organized tours, workshops, public talks, screenings, and hands-on activities aimed at youth, educators, adults, and families.

Work by Cheryl Pope. Top: variety jacket from the series I’VE BEEN HEARD, 2016. Below, customized sneakers. (Photo by Lazaro Llanes, courtesy of Perez Art Miami Museum)

“The universal themes of teamwork, discipline, resilience and perseverance across sports and arts have provided us with ways to craft experiences that make folks feel welcome in a museum,” Vickles says. During the opening week, PAMM hosted the first session of “GAME TIME,” a two-day conference bringing together artists, athletes, poets, curators, journalists, and performers. Sirmans described the gathering as an added layer of interpretation, with a second session planned for Friday, June 26.

Lee Moriarty, a professional wrestler and visual artist who took part in “GAME TIME,” sees a connection that already exists in his own life. “I think both wrestling and art have always been connected and have influenced each other so it’s great to see it being explored deeper,” he says. For Moriarty, wrestling naturally combines sport and art, blending athletic skill with theater, imagery, storytelling, and performance.

Lee Moriarty’s “Summer Garden Selfie,” 2024. (Collection Pérez Art Museum Miami, gift of Adam Abdalla)

The exhibition also ensures its global perspective reflects Miami. Sirmans noted that the museum included works and references that resonate locally, such as sketches by LeRoy Neiman of Muhammad Ali in Miami Beach and a podcast made with the young girls of Little Haiti Football Club.

These additions help tie the show’s broader themes to local experiences.

Especially visible in the display are World Cup soccer balls produced by Adidas, stretching from the early leather era to highly engineered contemporary designs. (Photo by Jonel Juste)

By the time visitors leave PAMM, Sirmans hopes they will no longer view sports and art as separate worlds. “Sports and arts are metaphors for our lives and there’s room for all and inspiration to be found in a consideration of games in our lives.”

WHAT: “Get in the Game: Sports, Art, Culture”

WHERE: Pérez Art Museum Miami (PAMM), 1103 Biscayne Blvd, Miami

WHEN: 11 a.m. to 6 p.m. Monday, Friday and Saturday; 11 a.m. to 9 p.m. Thursday; 1 to 6 p.m. Sunday.

COST: $18 adults; $14 seniors 62 and older, students with ID, and ages 7 to 18; free for members, children 6 and under, and free admission for all on Thursdays after 5 p.m.; Other free admissions with ID: active U.S. military and veterans, health care professionals and first responders, Florida educators, and visitors identifying as disabled and their accompanying caregiver.

INFORMATION: (305) 375-3000 or pamm.org

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com.

A Circle of Cuban Art at Westchester Regional Library

Installation view of “Circular Reflections” at the Westchester Regional Library. The exhibition, featuring work by more than 80 Cuban artists, will be on view through June. (Photo courtesy of Miguel Rodez)

The latest exhibition at the Westchester Regional Library brings together more than 80 contemporary Cuban artists, each working within a shared constraint: a 21-inch circular format that reveals a wide range of approaches, styles and generations.

Organized in collaboration with the Miami-Dade Public Library System, the exhibition, which opened on Friday, April 3 and continues through Thursday, June 25, unfolds as a traveling, evolving project that resists a single narrative. Rather than grouping artists around a theme, curator Miguel Rodez invited each participant to work within the circular format while maintaining their own visual language.

The result is a wide-ranging presentation that reflects the diversity of Cuban artistic production across generations and geographies.

Curator Miguel Rodez with works from “Circular Reflections,” a project he developed over nearly a decade to document the breadth of contemporary Cuban art. (Photo by Oscar Fuentes, courtesy of Miguel Rodez)

Rodez, a Miami-based artist and independent curator, began developing the exhibition nearly a decade ago. Over time, the initiative expanded beyond its initial scope, evolving into what he describes as both a traveling show and an ongoing record of Cuban visual culture.

“ ‘Circular Reflections’ is a growing, traveling, large-scale contemporary art exhibition and living documentation of Cuban visual creativity,” Rodez said.

The defining gesture of the exhibition, the circle, operates as both formal constraint and conceptual device.

“The project shuns the traditional rectangle format, which boxes in a narrative, in favor of a round portal that transports the audience wherever the artist’s imagination leads,” he said.

For artists accustomed to rectangular composition, that shift required adjustment and opened new ways of organizing space.

Ismael Gómez Peralta, a Cuban-born artist based in Miami whose work often explores architecture and memory, says the circular format posed an initial challenge but ultimately aligned with his existing practice.

Ismael Gómez Peralta at his studio, where he builds layered compositions rooted in memory, architecture and lived experience. (Photo by Miguel Rodez)

“Normally we all work in a rectangular format. It’s the traditional structure,” he said. “Here, the challenge was to rethink that space without losing what I do.”

Rather than adopting a radial or mandala-like composition, Gómez Peralta maintained the architectural logic that defines his work, grounded in structure, weight and spatial tension.

“I kept my sense of gravity, my structures in space,” he said. “I didn’t want to lose that.”

His process begins with an abstract foundation.

“I start by releasing paint across the entire surface, building a kind of base,” he said. “I familiarize myself with the space. I ‘heal’ it, in a way.”

From there, the composition emerges through a balance of intuition and memory.

“I don’t rely on cold reasoning,” he said. “I let instinct guide me, what I’m feeling at that moment.”

The imagery in his piece draws from two long-standing bodies of work: his series on the ruins of Havana and another focusing on cathedral-like structures, developed after the death of his mother.

“I wanted those two elements to come together,” he said. “The ruin and the cathedral, destruction and something more elevated.”

That duality reflects a broader meditation shaped by distance from Cuba, where he lived through the economic crisis of the 1990s before relocating to the United States in 2002.

“Living outside Cuba gives you perspective,” he said. “When you’re inside, you’re too close, almost like a victim of the situation. From a distance, you can process memory differently.”

Work by Ismael Gómez Peralta featured in “Circular Reflections,” combining architectural structures and emotional memory into a composition that reflects both loss and resilience. (Photo by Miguel Rodez)

His work often holds that tension: decay and endurance, loss and continuity.

“There is beauty in Cuba,” he said. “Even within destruction, there is hope.”

While Gómez Peralta approached the format as a structural problem, painter Luisa Mesa, a Miami-based artist known for her intuitive abstract compositions, encountered it differently.

“I’ve worked in circles for years. I love them,” Mesa said. “So for me, nothing really changed. It was a natural space to work in.”

Her process begins not with an image but with color.

“I start with the background. I build the surface first,” she said. “Then I draw into it.”

From there, the work develops organically.

Luisa Mesa at work in her studio, where her compositions develop through an intuitive process guided by color and form. (Photo courtesy of the artist)

“I work very intuitively,” she said. “I always say the piece knows what it wants. If I don’t interfere too much, it guides me.”

Mesa’s compositions often evoke biological or cosmic systems, forms that suggest cells, constellations or microscopic activity, though she resists assigning fixed meaning.

“I never decide in advance what I want to communicate,” she said. “People bring their own interpretation.”

Over time, she has observed how viewers project their own experiences onto the work.

“People with a scientific background often see something under a microscope,” she said. “Others see something cosmic or even playful.”

That openness is intentional.

“A work of art is a mirror,” she said. “Each person sees something different in it.”

The absence of a prescribed theme across the exhibition reinforces that multiplicity.

“I’m a strong believer in freedom of expression,” Rodez said. “This show is about what’s in the soul of the artists.”

By allowing participants to work without conceptual restriction, he aimed to foreground the breadth of Cuban artistic production, from the figurative to the abstract, from the intimate to the monumental.

“The objective is to challenge preconceived notions of what Cuban art is,” he said. “It cannot be easily categorized.”

That diversity becomes especially visible within the shared constraint of the circle, where each artist negotiates the same boundary in distinct ways.

The exhibition includes work by more than 80 artists across generations, among them Ramón Alejandro, Alejandro Arrechea, Pablo Cano, Ana Albertina Delgado, Ivonne Ferrer, Baruj Salinas and Violeta Roque de Arana, among many others.

Installed within the Westchester Regional Library, a Brutalist structure defined by raw concrete and geometric weight, the exhibition also shifts the context in which the work is encountered.

Part of “Circular Reflections,” this work by Luisa Mesa unfolds through layered surfaces and organic forms that invite open interpretation shaped by the viewer’s own perspective. (Photo by Miguel Rodez)

“I wanted to bring art to people where they don’t necessarily expect it,” Rodez said.

Rather than a traditional museum setting, the library offers a more open environment, where viewers may come across the work outside the conventions of gallery behavior.

The exhibition is accompanied by a series of short texts written by Rodez in response to each piece, reflections that range from brief lines to more narrative passages.

“The idea is not to impose meaning,” he said. “It’s to get the viewer thinking, to start a dialogue.”

Ultimately, “Circular Reflections” does not attempt to define Cuban art through a single lens. Instead, it presents a field of individual practices shaped by different histories, geographies and sensibilities.

For Gómez Peralta, that openness reflects the way art itself functions.

“If you are honest in what you do,” he said, “there will always be someone who connects with it.”

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com

Trashroom Gallery, Cargo Space: Rethinking Alternative Art Spaces

Trashroom Gallery: Juan Pablo Garza and Christian Vinck (Romero Henriquez) “Icacos Patafisicos” from December 2025. (Photo courtesy of Trashroom Gallery)

Exhibitions are a core function of any professional visual artist’s work; they are the primary medium by which art lives in a public space and connects to the world. Highbrow, conventional exhibitions in today’s landscape feed into a kind of art world machine. For those at the top of the food chain, work goes to galleries, where it must be sellable for the gallery to survive. It is then sold to collectors, who in turn feed into the museums where they serve on boards of, or into private (but public-facing) collections.

Ana Vergara standing in front of “On Belonging.” (Photo courtesy of Cargo Space)

This entire process requires access, connections, and, most importantly, money. But what happens to those who live outside that inner circle? And what happens when you factor in rising rents, limited real estate, and the fact that local organizations making exhibitions outside this system—such as Tunnel Studios, Laundromat, Edge Zones, and Rice Hotels—can only accommodate a certain number of artists each year?

Now more than ever, members of the local art community have developed a strong undercurrent of conceptually forward-thinking and varied artists—more than the current ecosystem of exhibition spaces can accommodate. As in other decades and parts of the world, this climate has prompted artists to think outside the white cube, expanding where and how exhibitions can take place.

Trashroom Gallery and Cargo Art Space are two examples of this reimagining of space. Both further democratize exhibition participation while breaking with conventions of what is necessary to put art into the world.

A resident throws out trash beneath Markus Haugg’s “Prefer Not To See,” August 2025. (Photo by Alfredo Travieso, courtesy of Trashroom Gallery)

Trashroom Gallery was started by local conceptual assemblagist Alfredo Travieso in 2025, when he realized the trash chute room in his building had enough space to accommodate a small exhibition of his own work. Travieso describes it as a “clandestine project,” not only because neither his landlords nor the building are aware the space has been turned into a gallery, but also because its location is hidden from the public.

With a few exceptions, most artists drop off their work and Travieso installs the shows himself. Only his neighbors see these exhibitions in person; they live publicly through Instagram.

“I usually don’t let the artists into the space. They drop off the works, I put up the show, I document, and then I give them the works. There’s a practice of community… a kind of relational aesthetic. It’s become a very symbiotic relationship with the artist.”

In creating Trashroom, Travieso works through layers of irony and opposition. The project plays with elevation and debasement at once. It gives new life to artworks by exhibiting them, yet that life takes place in the same location where people discard their garbage.

From left, works by Amanda Cantin, John Dominic Colón, Iris Alejandra, Liang Lansi, Pablo Matute and Richard Moreno in Cargo Space’s “On Belonging.” (Photo courtesy of Cargo Space)

Trashroom also flips several tenets of traditional exhibition-making. There is no budget, no sales incentive (to date, only one piece has sold, with proceeds going to the artist), and no opening receptions or programming. Some may argue these are not “real” exhibitions. Yet in their focus on simply giving artists space to bring work into a public sphere, they do so in a purer, more idealistic way than the traditional white cube.

Cargo Art Space, founded by Ana Vergara through Florida International University’s Ratcliffe Art + Design Incubator, takes a different approach. It hosts exhibitions inside a cargo van—typically a U-Haul—retrofitted with walls and lighting for installations.

The idea itself is not entirely new. Cargo cites inspiration from the Miami-Dade Public Library’s Artmobile program from the 1970s to the 1990s, and it recalls more recent projects like the U-Haul Gallery. But novelty is not the goal—access, community, and mobility are.

“It’s so expensive to rent a conventional space, and a U-Haul is $29.95 a day flat rate. That price becomes unbeatable if you want to put on exhibitions wherever and whenever you want,” Vergara explains.

Cargo exhibitions exist in a similarly ephemeral way to Trashroom. Sometimes all within the same day, Vergara rents the van, installs the walls and lighting, hangs the show, exhibits it, and takes it down. Viewers find the location online and attend what is effectively both the opening and closing. After that, the exhibition lives on primarily through documentation.

Install image of Gonzalo Hernandez’s “Nothing is a Mistake.” January 2025. (Photo by Alfredo Travieso, courtesy of Trashroom Gallery)

For both Trashroom and Cargo, social media and online platforms act as critical repositories for visibility and permanence. While all exhibitions rely on online sharing, here these platforms function as a primary viewing space rather than just promotion.

This shift raises questions. Are exhibitions meant to be experienced in person, or online? And if part of the intrigue of these spaces is their transience and opacity, is that diminished by digital visibility?

Part of the answer may lie in who shows up. Vergara recalls an older woman from a nearby church and a local business owner stopping by—people she would not typically encounter in a conventional art space.

“That’s the beauty of Cargo,” she says. “There’s no hierarchy. I treat everyone equally.”

WHAT: Trashroom Gallery
WHERE: Location not disclosed
COST: Free
INFORMATION: @trashroom_gallery on Instagram, or contact Alfredo Travieso at televisor@gmail.com

WHAT: Cargo Space
WHERE: Space is  announced within a month of opening, flexible based on location of van.
WHEN: Last exhibition was 4:30 p.m. Saturday, March 14, next opening will be announced online.
COST: Free
INFORMATION: www.cargo-space.net or @cargo__space on Instagram

ArtburstMiami.com is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don’t miss a story at www.artburstmiami.com

Long-time Critic Elisa Turner And The Untold Story of ‘Miami’s Art Boom ‘

Robert Huff’s “East West” (2003) at the Palmetto Metrorail Station, part of the collection of the Miami-Dade County Art in Public Places program, is featured in Elisa Turner’s book “Miami’s Art Boom: From Local Vision to International Presence” published by University Press of Florida. (Photo by Robin Hill, Miami-Dade County Department of Cultural Affairs, Art in Public Places Trust) 

When Miami visual arts critic and journalist Elisa Turner began seeing national coverage as Art Basel Miami Beach was getting ready to mark its two decades in 2022, the narrative caught her attention.

“The national press was saying, ‘Who ever thought Miami could have something like this?’ referencing the beginnings of Art Basel Miami Beach in 2002. ‘There had been nothing in Miami before,’ Turner recalls outsiders concluding.

“I thought, ‘this is not right,’ ” she says. For someone who covered Miami’s art scene as a freelance critic for the Miami Herald from 1986 to 2007, she felt that she knew the real art history of Miami.

Elisa Turner’s “Miami’s Art Boom” was selected as a Gold medal winner in the 2025 Florida Book Awards Visual Arts category. (Book cover artwork by Carlos Betancourt, courtesy of University Press of Florida)

Turner began going back through archives of her writing. “I found stories that indicated how the art community was active, and how the community was doing things to put itself on the map, and it had been recognized internationally,” she says, and years before Art Basel Miami Beach put down stakes in South Florida.

The result of wanting to set the record straight and of digging through profiles and reviews resulted in “Miami’s Art Boom: From Local Vision to International Presence,” published Oct. 28, 2025, by University Press of Florida.

This month, Turner was notified that the book was selected as a Gold medal winner in the 2025 Florida Book Awards Visual Arts category. Established in 2006, The Florida Book Awards (FBA) celebrates the best works published each year by Florida authors or about the state.

Along with the award and other recognition, “Miami’s Art Boom” will be placed in Florida State University’s permanent collection.

“You spend so much time on something, and you don’t really know how it is going to be received, but I have had so much of a positive reaction.”

The writer says it was a three-year, more-than-full-time endeavor. For one thing, the Miami Herald owned the rights to the work, since publications retain ownership of what is written for them. Getting access to the articles she wanted to include required persistence and legal help.

“I had a lawyer, a really dear friend, and he helped me,” Turner says. “He wrote several letters to the publisher at the time and the executive editor… And so finally, I was given permission to go down to the old Herald building and download everything on my flash drive. It was kind of a surreal experience, because I found things that I had forgotten.”

Elisa Turner is the author of “Miami’s Art Boom: From Local Vision to International Presence” published by the University Press of Florida. (Photo courtesy of Elisa Turner)

The book gathers more than 100 of Turner’s writings spanning the years before and after the first Art Basel Miami Beach. Her introduction begins with what she refers to as “an astounding sensation” that was brought to Miami. In 1983, New York City-based artists Christo and Jeanne-Claude, known for creating massive, temporary environmental installations around the world,  wrapped 11 islands in Biscayne Bay in bright pink fabric and called it “Surrounded Islands.”

Today, the project’s archive—drawings, photographs, and materials—is housed at the NSU Art Museum Fort Lauderdale.

In the introduction, Turner writes that three years later, she began writing for the Miami Herald in what would be “pivotal years in Miami’s evolution . . . foreshadowed by the daring vision of Christo and Jeanne-Claude.”

The book’s structure, she explains, was carefully considered. Turner didn’t want just a greatest-hits compilation. “I wanted there to be a narrative, progressing, moving forward and sometimes faltering, as I have said, you know, it wasn’t like a constant rise forward,” she says. “I wanted to pick articles that really showed that there was this special thing happening here, outside of the fun and fun image that Miami had.”

The process was emotionally demanding. Turner, who is a contributor to ArtburstMiami, notes that creating the book “took a lot” out of her, particularly as she confronted the passage of time. One of the most poignant elements is a recurring feature she added at the end of each section. “It’s an in-memoriam, which I have the dates of people who have passed,” she says. “I wanted to recognize them so that even though they’re not here anymore, their contributions are visible. “

The book also covers communities whose contributions, Turner believes, have too often been overlooked. She points to the conclusion of “Miami’s Art Boom.” “I wanted this to move forward. I didn’t want it to be stuck in the past.”

Elisa Turner’s enchantment with Haitian art and culture long predates the book. She mentions Haitin-born artist Asser Saint-Val whose 2019 work MSLITHP NGODA, is featured. (Photo courtesy of the artist, Miami-Dade County Department of Cultural Affairs, Art in Public Places Trust)

A key part of that, she explains, is tracing the influence of Miami’s immigrant communities. “Miami has the country’s largest Haitian immigrant population. Our arts community has been really enhanced by the immigrant population from all over, but especially from the Caribbean and Latin America. And I’m really proud of the fact that my book could show how the Afro Caribbean and Black Heritage artists — Black artists have shaped our community.”

Her enchantment with Haitian art and culture long predates the book. “I was always fascinated by Haitian art and culture,” Turner says.

Looking back, she recognizes that the daily pressure of newspaper deadlines once kept her from seeing the bigger picture her work was creating. “I was just trying to keep up with covering as much as I could,” she says.

Only later, as she revisited decades of coverage, did the pattern emerge: “When you step back, people were working hard to make this art community more proactive,” Turner says. “And that’s when I realized the pattern. When I started looking at these articles, they were saying, ‘Well, why don’t the museums pay more attention to us?’ And then finally, that started to happen.”

Gene Tinnie’s “A Gathering of Spirits,” (1996) at the West Little River Fire Station. (Image, Yusimy Lara, courtesy of Miami-Dade County Department of Cultural Affairs, Art in Public Places Trust)

The book reads like a Who’s Who of Miami’s visual arts culture. Turner points out that the years that are covered in the book – “(those) recounted here, national and international recognition – came to art bearing a Miami postmark.” In 1987, the painting Exiliados by Arturo Rodriguez was presented to Pope John Paull II on the occasion of his visit to Florida International University. Art by Maria Brito traveled to Seoul, South Korea. In the 1990s, the National Conference of Artists, a national organization of visual artists of African descent, included art by Charles Humes Jr. and Dinizulu Gene Tinnie . . . ” She mentions a 1987 review included in the book about Miami painter Robert Huff, “who played a widely respected role in Miami’s art community” and a mentor to many.

Looking back at decades of coverage, Turner sees the threads connecting it all—the artists, the neighborhoods, gallerists, curators, collectors, and projects pushing Miami’s art scene forward.

“I feel that all of this is important art history and it shouldn’t be swept under the rug. It should not be forgotten,” Turner says. “And while it wasn’t a constant rise forward, what the articles I selected for ‘Miami’s Art Boom’ were substantial and stand the test of time.”

Find out more information about “Miami’s Art Boom” from University Press of Florida.

ArtburstMiami.com , a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don’t miss a story at www.artburstmiami.com