Miami Artist Shadia Sabagh Launches “Mirror” on Kickstarter, Where Sculptural Design Meets Self-Worth

 

Detail: Mirror, soft sky blue, the 16-point radial frame casting shadow against walnut. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

Miami artist and creative director Shadia Sabagh introduces Mirror, a new sculptural object shaped by her own practice of self-worth and self-love, now available on Kickstarter through September 22, 2026. Created from Sabagh’s evolving resin practice, Mirror marks her first project made and released entirely on her own terms. Hand-cast in polyresin with a soft sky blue finish, Mirror features a 16-point radial frame and measures 17.71 inches high by 10.30 inches wide and 2.36 inches deep. Each piece is hand-sketched, 3D-rendered and molded, then hand-finished, with minor, intentional variations from piece to piece. The limited edition is a run of 2,000, and each Mirror includes 120 digital self-worth and self-love affirmation cards, yours to keep and use however you practice.

Shadia Sabagh at home, surrounded by the objects and books that built the eye. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

More than a functional object, Mirror reflects a philosophy that has increasingly shaped Sabagh’s creative practice: the belief that self-worth is something that must be practiced, protected, and consciously built. The project brings together art, sculpture, design, and personal ritual, transforming an everyday object into a visual reminder of that philosophy.

Mirror, resin, sky-blue finish, shown at close range on the entryway console beside a stack of books. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

For Sabagh, the work begins with a personal practice that has been part of her daily life for years. “Mirror work has been part of my morning routine for years — I journal, then I do affirmations for self-worth and self-love,” Sabagh says. “I wanted Mirror to carry that same energy: not just a sculptural piece, but something that reminds you to love yourself every time you look into it.” Sabagh describes Mirror as both a sculptural design piece and a reminder to practice self-worth and self-love. “I want Mirror to not just be a sculptural design piece, but also serve as a reminder every time you look at it — to love yourself the way you want others to love you. First, always.”

Mirror, resin, sky-blue finish, propped on an oxblood entryway console against walnut paneling. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

Sabagh’s professional identity spans art, creative direction, and collectible objects. Through Shadia Sabagh Studio and Studio 888 by SS, she works across original art, hand-carved wall sculpture, collectible objects, brand experiences, and journal editions. Her studio has worked with major brands including YSL Beauty, Carolina Herrera, L’Oréal, NYX, Bacardi, CeraVe, New Balance, and Airbnb. Mirror, however, represents a different kind of creative chapter. The piece is the result of three years developing Sabagh’s resin practice, a process she describes as self-taught and self-funded. Her movement toward sculptural, three-dimensional work developed gradually.

Mirror, resin, sky-blue finish, on the entryway console with abstract leaf-form bookends and a stack of books. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

“I’ve moved slowly from painting on canvas, to painting on paper, and now into sculptural, three-dimensional work,” she explains. “My first design object collection launched last fall and did well. Mirror is just the next step.” Sabagh describes the project as her first fully self-authored campaign — work created and released on her own terms rather than for a brand or as an assignment. “I’ve spent years turning other people’s ideas into gold. Mirror is mine.”

Mirror, resin, sky-blue finish, wall-mounted above the vanity, the 16-point radial frame shown at close range. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

Sabagh’s process combines hand-drawn development with digital modeling and physical production. “I sketched Mirror by hand, then built it out as a 3D render,” she says. “I wanted it perfect, and I knew I couldn’t get that level of quality — or that scale — carving it myself. That’s why this needed a real production run.” The resulting object is wall-mounted and produced in hand-cast polyresin, allowing the distinctive 16-point radial frame to hold its shape and detail. Each piece is individually finished, preserving minor variations between works. For Sabagh, the production process also reflects a practical decision about scale and investment. “This piece needed a bigger investment than I could make alone,” she says. “I’d also rather launch the pieces I needed to test first — Mirror is the one I was finally ready for.”

Shadia Sabagh in her home studio. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

Bringing Mirror into production required Sabagh to think beyond the studio and consider a different kind of relationship between artist, object, and audience. Kickstarter offered a way to make that relationship direct, allowing the project to be supported by the people who connect with the idea behind the work.

Mirror, resin, sky-blue finish, on the entryway console beside a brass bowl, the hallway opening beyond. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

Sabagh chose Kickstarter as a new way to fund and bring Mirror directly to an audience. “I wanted to try crowdfunding — I’d never done it before, and it’s a way to fund a project beyond what I bootstrap myself,” she explains. The Kickstarter campaign runs from August 24 through September 22, 2026, with a funding goal of $28,200. Backers can choose between two tiers: The Mirror – Soft Sky Blue, priced at $550, and The Mirror – Signed in the Back, priced at $575. Estimated delivery is December 2026. The piece ships from Miami, with domestic shipping included in the pledge, while international backers can receive a shipping quote before pledging. Any damage in transit is to be reshipped from Miami at no cost. Mirror will also be shown in person at The Other Art Fair: Los Angeles, September 24–27, 2026, at Barker Hangar in Santa Monica.

Detail: Mirror, soft sky blue, the 16-point radial frame casting shadow against walnut. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

For Sabagh, Mirror is also the beginning of a broader independent chapter. The project stands apart from the brand collaborations that have formed a significant part of her studio practice, while remaining connected to the creative development that has shaped her work across art, design, and commercial environments. Her next phase includes the upcoming launch of Studio 888, which she describes as a platform for brand work and her own journal editions, as well as another Kickstarter planned for November. “I spent sixteen years finding my own purpose — asking the questions it takes to get there,” Sabagh says. “What’s next is a program that gives people a shortcut to find theirs, with a map to follow it. That’s part of Studio 888.”

Mirror, resin, sky-blue finish, wall-mounted in the powder room among framed prints and works on paper. Brickell, Miami, 2026. Courtesy of Shadia Sabagh.

For now, Mirror stands as a tangible expression of that journey: a sculptural object developed from a deeply personal practice and brought into the world through a direct, self-authored campaign. Shadia Sabagh works across original art, hand-carved wall sculpture, and collectible objects through Shadia Sabagh Studio, and runs Studio 888 by SS for both brand experiences and her own line of journal editions.

For more information visit www.shadiasabagh.com

Follow Shadia Sabagh on Instagram @shadiasabaghstudio

Learn more and support Sabagh’s Kickstarter campaign.

First U.S. Museum Solo Exhibition for Sheroanawe Hakihiiwe Debuts in November at ICA Miami, a Joint Presentation with the Fondation Cartier pour l’art contemporain

The landmark exhibition explores more than 25 years of the Venezuelan artist’s expressions of Indigenous Amazonia, including new site-specific commissions

Sheroanawe Hakihiiwe, Puu motho shipe (Stinging Vines), 2023. © Sheroanawe Hakihiiwe

The first solo U.S. museum exhibition by artist Sheroanawe Hakihiiwe (b. 1971, Sheroana, Venezuela) opens this November at the Institute of Contemporary Art, Miami (ICA Miami), ahead of Miami Art Week. A joint presentation with the Fondation Cartier pour l’art contemporain, Sheroanawe Hakihiiwe comprises more than 100 works, including pieces from the Fondation Cartier’s collection as well as new commissions across a variety of media, to reveal the artist’s distinct pictorial lexicon and relationship with the natural world. Opening November 19, Sheroanawe Hakihiiwe is co-curated by Gean Moreno, Director of the Art + Research Center at ICA Miami, and Michela Alessandrini, Curator at the Fondation Cartier. The exhibition reflects the two institutions’ shared commitment to representing the significance of human relationships to the environment in their programs. 

Hakihiiwe is among the most important Venezuelan artists working today on an international scale. A member of the Yanomami people, one of the largest Indigenous groups living in Amazonia, Hakihiiwe was raised and still lives in the remote Poripori community along the banks of the upper Orinoco River. He draws inspiration from the vestiges and forms of the flora and fauna found in the forest where he resides. Through his practice, Hakihiiwe builds new visual languages to record his cultural heritage, ancestral myths, and ties to the environment. Best known for his drawings, paintings, and prints on handmade paper, the Miami exhibition highlights the artist’s continued material investigations, including animation, murals, and site-specific installations.

In his practice, Hakihiiwe emphasizes the connectivity of all life forms alongside the vulnerable state of Indigenous approaches. “Everything you can see is beautiful, but it’s all at risk of disappearing, including my family, my community, the language we speak, and everything I know in the forest—animals, plants, rivers, even me,” remarked the artist in 2023 at the opening of Siamo Foresta in Milan, organized by Fondation Cartier.

“Sheroanawe Hakihiiwe's work offers a glimpse into vast Indigenous knowledge systems through a visual language that is as meticulous and rich as the natural world and cultural traditions from which it emerges. At ICA Miami, we are dedicated to exhibiting work that reveals the complexity and breadth of artistic production around the world, creating a bridge to globally significant artistic practices that have not yet received sustained institutional recognition in the United States. It is especially meaningful to present this landmark exhibition in Miami, given the city's enduring connections to Latin America and its position as a vital cultural crossroads in the Americas,” noted Alex Gartenfeld, Irma and Norman Braman Artistic Director at ICA Miami.

The exhibition at ICA Miami tracks the evolution of Hakihiiwe’s oeuvre from his foundational works on paper to his latest explorations across media through four distinct sections. The first section, Building a Language, follows the artist’s earliest efforts to develop and refine his approach for visually transmitting the Yanomami cultural experience, including his seminal work, Shapono. The following section, Notational Systems and Encyclopedic Exercises expounds on Hakihiiwe’s taxonomic impulses, beginning with the indexical systems he began to develop in the early 2010s.  The third section, Landscapes, sees the artist widening both the lens and form of his compositions to include larger tableaus and new materials. The final section, Shamanic Initiation, examines the effects of the artist’s recent shamanic training, including the power of dreams and images that bridge the visible and invisible worlds. Shamanic Initiation showcases Hakihiiwe’s latest works, including a new film soundtracked by the artist’s chanting, a site-specific mural, and a site-specific installation featuring a set of shamanic poles.

The exhibition is designed by the renowned Mexico City-based architect Mauricio Rocha, and his studio Taller de Arquitectura. Inspired by the atmospheric qualities of the traditional Yanomami housing (shapono), Rocha's architectural vision transforms filtered light, natural earth pigments, and framed views of the surrounding landscape into a contemplative spatial experience, inviting a slow encounter with Sheroanawe Hakihiiwe's visual language and its profound connection to the forest.

What Does It Mean to Inhabit a Body Shaped by Illness? Dana Donaty’s “Florida Blue, The Revenue Stream”

 

Dana Donaty's ‘Florida Blue, The Revenue Stream’

South Florida contemporary artist Dana Donaty explores illness, women’s health, historical erasure, and the systems that shape how women’s bodies are understood through a new punch needle work created during her time at the Chanorth Art Residency. 

What does it mean to inhabit a body shaped by illness?

For artist Dana, that question has become the starting point for an ongoing investigation into the ways illness can transform not only the body, but also the experience of time, relationships, and belonging.

Florida Blue, The Revenue Stream, completed in 2026 during Dana’s time at the Chanorth Art Residency, is part of a new punch needle series exploring those questions through material, research, grief, rage, and memory.

Over the past decade, illness has changed far more than Dana’s body. It has altered how she experiences the world around her, prompting a deeper investigation into the history of women’s health, medicine, and the ways women have been understood—or misunderstood—within medical and social systems.

“I started there, but the research kept expanding,” Dana explains.

As she moved through those histories, she began to recognize that experiences that had initially felt deeply personal were also part of a much longer lineage of exclusion, dismissal, and erasure.

And, unexpectedly, that realization brought some comfort.

Doctors have often made it sound as though she is uniquely complicated rather than acknowledging the limits of medical knowledge and research.

“Different century. Same shit.”

What began as an attempt to make sense of her own experience has therefore become a broader investigation of the historical and systemic forces that shape how women’s bodies are understood, cared for, and remembered.

Dan Donaty's ‘Florida Blue, The Revenue Stream’ Side 2

Florida Blue, The Revenue Stream

Created in 2026, Florida Blue, The Revenue Stream combines acrylic yarn, Marino wool, Mongolian cashmere, pink mirrored plexiglass, twisted nylon mason line, grief, and rage.

The work unfolds across two sides.

Side 1 is grounded in the present, where illness can pull the body into systems that manage rather than care. Here, the river becomes a figure for the extractive flow of contemporary healthcare.

Side 2 turns toward the past, tracing a lineage from women persecuted for their healing practices to the institutions that continue to govern women’s health today.

Together, the two sides ask a larger question: How do the currents of history move through women’s bodies?

Through the language of fiber and the physical labor of punch needle, Dana brings together personal experience, historical research, material memory, and social critique. The resulting work becomes both an exploration of her own lived experience and an examination of the larger systems that have shaped women's relationships with medicine, authority, care, and the body.

Dana Donaty Studio

A Continuing Investigation

Rather than offering a single conclusion, Florida Blue, The Revenue Stream forms part of Dana’s continuing investigation into women’s health and the historical structures surrounding it.

The work connects the intimate realities of illness with a broader cultural history, asking viewers to consider what is remembered, what is erased, who is believed, and what happens when institutions continue to govern bodies without fully understanding them.

Florida Blue, The Revenue Stream is currently included in A Pixel Ring, an online exhibition presented by Field Projects Gallery and curated by @herlovelyface, @jacobrhodes74, and Elizabeth Harris.

View the exhibition:
www.fieldprojectsgallery.com/a-pixel-ring

Florida Blue, The Revenue Stream, 2026
Acrylic yarn, grief, Marino wool, Mongolian cashmere, pink mirrored plexiglass, rage, twisted nylon mason line.

Dana Donaty's ‘Florida Blue, The Revenue Stream’ detail pic

Must-See exhibition at PAMM, John Baldessari: The End of the Line

 

John Baldessari. Tetrad Series: What Was Seen, 1999. Inkjet print on canvas; acrylic and enamel paint on canvas, in four parts. 94 x 94 inches overall. Craig Robins Collection. © 1999–2026 John Baldessari Family Foundation. Courtesy Estate of John Baldessari; Sprüth Magers

John Baldessari: The End of the Line

August 20, 2026 – May 9, 2027

Pérez Art Museum Miami (PAMM) presents the first major survey in South Florida devoted to John Baldessari (1931–2020), a leading pioneer of conceptual art. The exhibition features a selection of forty works spanning painting, photography, video, and installation, drawn largely from the collection of Craig Robins––a close friend, champion, and one of the artist’s foremost collectors. This presentation highlights Baldessari’s foundational works from the 1960s and 1970s, the radical incineration of his own paintings, his serial approach to photography, and his lifelong investigation into the relationship between language and image.

Born in the small border town of National City, California, Baldessari began his artistic career as a painter. In the mid-1960s, he started incorporating text and photographs into his canvases, questioning the limits of painting and the traditional notions of artistic authorship. In 1970, through his Cremation Project, he burned most of the paintings he had made between 1953 and 1966, symbolically separating his early work from the conceptual practice that followed––a gesture of radical reinvention echoed the following year in I Will Not Make Any More Boring Art, one of his most iconic critiques towards the art establishment. During the following decade, he began collecting film stills, images from television, and other photographic reproductions from media. Over time, he amassed a vast archive of source material that he incorporated freely into his work, frequently obscuring faces and other details with brightly colored circles.

Beyond challenging the artistic conventions of his time, Baldessari profoundly influenced generations of artists through his teaching. He taught at the California Institute of the Arts (CalArts) from the institution’s founding in 1970 until 1988, and at the University of California, Los Angeles (UCLA), from 1996 to 2005.

Organization and Support

John Baldessari: The End of the Line is curated by Karen Grimson, Curator of the Craig Robins Collection and Director of Cultural Programming at Dacra. The exhibition at PAMM is organized by José Carlos Diaz, Senior Director of Curatorial Affairs and Chief Curator, and Fabiana A. Sotillo, Curatorial Assistant. Support from National Endowment for the Arts, Funding Arts Network, Jayne Binzer-Jacowitz and Steven Jacowitz, Constance Tolevich Fernández, Linda LaGorga, and Jane Hurt is gratefully acknowledged.

Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026 Celebrates Art, Culture & Heritage at Artgal Zim Center

 

Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026 Celebrates Art, Culture & Heritage at Artgal Zim Center

September 8–12, 2026 | Artgal Zim Center, Domboshava, Zimbabwe

Zimbabwean art, culture, identity, and heritage take center stage this September with Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026, an important new platform bringing artists and the broader cultural community together at the Artgal Zim Center in Domboshava.

Taking place from September 8–12, 2026, Tsika Dzedu will culminate in a vernissage and awards ceremony on September 12, celebrating the artists and creative voices participating in this year’s national exhibition and competition.

Following the main event, the selected artworks will remain on exhibition at the Artgal Zim Center for an additional three weeks, providing audiences with an extended opportunity to experience the work beyond the opening celebrations.

Celebrating Zimbabwean Culture

Tsika Dzedu centers on themes of culture, identity, heritage, and the traditions that continue to shape Zimbabwe. The exhibition provides artists with a platform to explore the many dimensions of Zimbabwean cultural experience while presenting their work to audiences both locally and internationally.

With the Artgal Zim Center serving as its physical cultural and educational base, the exhibition reflects Artgal’s broader mission of creating opportunities for Zimbabwean artists, expanding access to their work, and strengthening connections between local artistic production and the international art community.

Meet the Tsika Dzedu Judges

A distinguished three-person judging panel has been assembled to help select this year's winners:

Sampson Kuvenguhwa
Master Zimbabwean Sculptor

Malindi Odell
Head of Art Department, The Heritage School Zimbabwe

Leslie Johnson
Zimbabwean Artist and Arts Festival Organiser

Artgal Zim Center

Located in Domboshava, the Artgal Zim Center provides a physical home for Artgal’s growing program of exhibitions, cultural initiatives, artist opportunities, and educational activity.

Through its exhibitions and digital initiatives, Artgal.Online is developing a broader platform for contemporary Zimbabwean art—connecting artists, collectors, cultural audiences, and international communities while creating greater visibility for Zimbabwe's creative sector.

Tsika Dzedu forms an important part of that ongoing mission, bringing together artistic production and cultural heritage while creating new opportunities for Zimbabwean artists to reach wider audiences.

Discover the September Collector Journal

The latest Artgal.Online September Collector Journal expands on Tsika Dzedu, introducing the judging panel and exploring the artists, ideas, cultural heritage, Zimbabwean art, Shona sculpture, exhibitions, artist stories, collector insights, and the latest developments from the Artgal Zim Center.

Discover more about Tsika Dzedu and the latest news from Artgal.Online in the September Collector Journal, and read the full Miami Art Scene™ feature below.

Read the September Collector Journal:
https://www.artgal.online/journal-newsletter/newsletter-september/

Read the full Miami Art Scene™ feature:
https://www.themiamiartscene.com/from-domboshava-to-the-international-art-world-artgal-online-builds-a-new-platform-for-contemporary-zimbabwean-art/

Artgal.Online:
https://www.artgal.online/

Tsika Dzedu: Zimbabwe National Exhibition & Competition 2026
September 8–12, 2026
Artgal Zim Center | Domboshava, Zimbabwe
Vernissage & Awards Ceremony: September 12, 2026
Selected artworks remain on view for an additional three weeks.

NSU Art Museum presents a new exhibition: Wilfredo Lam's Legacy, August 30, 2026 - February 14, 2027

Wifredo Lam's Legacy August 30, 2026 - February 14, 2027 In Memory of Pearl Goodman

NSU Art Museum presents a new exhibition, Wilfredo Lam's Legacy, August 30, 2026 - February 14, 2027. Born in 1902 in a sugar-cane harvesting region of Cuba, Wifredo Lam (1902-1982) was a transatlantic artist whose mixed heritage as the son of a Chinese immigrant father and Afro-Cuban mother shaped his distinct Surrealist work. Lam had a profound influence on Cuban artists. Lam’s adoption of Afro-Cuban rituals, the reclaiming of African identity, the celebration of the tropical landscape, the use of coded emblems of social and political protest, and the stylization of abstracted hybrid personages are evident in the works on view in this exhibition. Most of all, Lam’s fame as a transnational artist was a source of pride and an example of how art transcends national borders. As artist Maria Magdalena Campos-Pons (b. 1959) stated on the occasion of Lam’s recent retrospective at the Museum of Modern Art, New York, “When I was young, we were all trying to be Lam.” Drawn exclusively from the museum’s permanent collection and the recent generous gift from Stanley and Pearl Goodman of their Latin American art collection, the exhibition includes works by Wifredo Lam, Ray Azcuy (Broward), José Bedia (Miami), María Brito, Agustín Cárdenas, Los Carpinteros, Kcho, Ana Mendieta, María Martínez-Cañas (Miami), María Magdalena Compos-Pons, and Ricardo Zulueta (Miami), among others.

The Betsy Orb: “The Egg” Connecting Miami Beach’s Architectural Past and Present

 

Walk along Miami Beach's Ocean Drive and you expect to see Art Deco façades, palm trees, ocean views, and the unmistakable architecture that has made the area one of the world's most recognizable destinations. But tucked between two historic buildings is something entirely different: a futuristic, orb-shaped structure that seems almost suspended in midair.

Known as The Betsy Orb, and affectionately referred to by many as “The Egg,” the distinctive skybridge connects The Betsy's original Ocean Drive property with the former Carlton Hotel building on Collins Avenue. What makes the structure particularly fascinating is the contrast between the historic architecture surrounding it and its contemporary sculptural form. Rather than competing with the buildings, the Orb creates a visual conversation between Miami Beach's architectural past and its evolving cultural identity. The Betsy itself describes the Orb as an “orb-shaped skybridge” and highlights it alongside the property's Poetry Rail and other art and design elements. 

The Betsy's original building, located at 1440 Ocean Drive, opened in 1942 as the Betsy Ross Hotel. Designed by architect L. Murray Dixon, it is recognized as one of Miami Beach's notable examples of Colonial Revival architecture, incorporating classical details while adapting to the city's subtropical environment.

The adjacent Carlton Hotel represents another chapter in Miami Beach's architectural history, having been designed by architect Henry Hohauser. The eventual expansion of The Betsy brought these two architecturally distinct buildings together as one unified property. 

And then there is the Orb.

Instead of hiding the architectural differences between the two buildings, the expansion embraced them—introducing an entirely new contemporary element that visually and physically connects the two.

The Betsy Orb is more than a passageway between two buildings. The hotel presents it as a piece of public art, and its role within The Betsy's larger arts and culture program has become an important part of its identity. The hotel's arts programming includes exhibitions and installations within the Orb itself, demonstrating how the unusual architectural space can become a setting for contemporary creative work.

The Institute of Contemporary Art Miami (ICA Miami) Four Rooms: Selections from ICA Miami’s Permanent Collection

 

Ming Fay, 'Money Tree Floating Vine' 1990s/2025 

Four Rooms: Selections from ICA Miami’s Permanent Collection

Special Exhibition / 2nd Floor on view April 30 – October 4, 2026

 “Four Rooms” on view at The Institute of Contemporary Art Miami (ICA Miami) assembles a suite of four exhibitions comprising works from the museum’s permanent collection, each organized by one of the museum’s curators, with a focus on recent acquisitions. The resulting presentations, which take the form of vignettes, demonstrate both the diversity and the historical depth of ICA Miami’s collection. The exhibition continues the museum’s ongoing approach to generating dialogue between newly commissioned works and works from the last fifty years and expresses the global scope of ICA Miami’s collection. 

Spirit Matter, curated by Donna Honarpisheh, Associate Curator, Art + Research, brings together diverse experimentations with material that transform matter into portals of spiritual encounter across global contexts. In an exhibition dedicated to grisaille, Gean Moreno Director, ICA Miami’s Art + Research Center, presents works that are meditations on the body and its traces, where presence, memory, and identity emerge through black-and-white photography and subtle performative gestures. Associate Curator Amanda Morgan invites viewers to reflect on intimacy and one’s relationship to the spaces of everyday life. Her exhibition brings together works that feature emotionally laden domestic objects and built environments that imply presence without depicting the human form. Finally, Alex Gartenfeld, Artistic Director, highlights a concise presentation of the museum’s wide-ranging examples of minimalism, highlighting a recent major acquisition of work by Miriam Schapiro. 

Featured artists include Larry Bell, Talia Chetrit, Anne Collier, Rose Marie Cromwell,  Kim Farkas, Ming Fay, Dan Flavin, Samuel Fosso, Paul Gardère, Ron Gorchov, Hugh Hayden, Lonnie Holley, Peter Hujar, Hudinilson Jr., Nikita Kadan, Matt Keegan, Tau Lewis, Louise Nevelson, Damián Ortega, Dalton Paula, Thomas Ruff, Miriam Schapiro, Heji Shin, Tatiana Trouvé, Kaari Upson, Sara VanDerBeek, Celia Vásquez Yui, Ai Weiwei, and Luis Fernando Zapata.

The Contemporary Art Modern Project (CAMP Gallery) presents The Fabric of Me August 1 - 21, 2026

THE FABRIC OF ME
AUGUST 1 - AUGUST 21, 2026

The Contemporary Art Modern Project is elated to announce a special summer exhibition in collaboration with Aurora Molina and her students at Play Studio Artelier. At Play Studio Artelier, they believe every child is an artist with a unique voice. Under the guidance of artist and educator Aurora Molina, our students are invited to explore contemporary art through curiosity, experimentation, and the transformative language of fiber. On view August 1 - 21, 2026.

The portraits presented in this exhibition are more than representations of faces—they are expressions of identity, observation, and imagination. Through weaving, stitching, and textile-based techniques, each young artist discovered how thread can become a medium for storytelling, connection, and creative confidence.

We are honored to present these works at The CAMP Gallery, celebrating the creativity of our young artists and reaffirming our belief that when children are given the opportunity to create with intention, their voices become an essential part of our cultural conversation. At Play Studio Artelier, they see art not only as a means of making, but as a way of thinking, connecting, and shaping the future.

Recognizing Dudley Alexis - Catalyst Award Winner 2026

Dudley Alexis, Catalyst Award Winner 2026 About the artist Dudley Alexis, an independent filmmaker and visual artist. Dudley Alexis is both a cultural anthropologist and historian who sees his world through unique multicultural eyes. His mission as a Creative is to mine the wealth of hidden details that provide meaning to the lives of those often written off by the mainstream, finding in their stories, real treasure. His gift is in gaining the trust of others who then poignantly share their personal stories, often filled with tragedy and triumph. Alexis vividly portrays their drive to thrive and to live with dignity and equality in a world that would too often attempt to keep them marginalized. About DVCAI Diaspora Vibe Cultural Arts Incubator, Inc. is a virtual artist space dedicated to promoting, nurturing, and cultivating the vision and diverse creativity of emerging artists from the Caribbean and Latin American Diaspora through experimentation, exhibitions, artists-in-residence programs, international cultural exchanges, and dialogue in contemporary art. www.dvcai.org. DVCAI partners with organizations to enhance residency experiences in the Caribbean region, nationally, and internationally. For more information, please visit www.dvcai.org and follow our activities at https://www.instagram.com/dvcai

Experience the 2026 Boynton Beach Night Market July 24 & 25 from 5-11pm

 

The Boynton Beach Community Redevelopment Agency (BBCRA) invites residents and visitors to experience one of the City’s largest and most anticipated events of the year, the Boynton Beach Night Market, returning Friday, July 24, and Saturday, July 25, 2026, from 5:00 p.m. to 11:00 p.m. each evening at Centennial Park & Amphitheater, 120 E. Ocean Avenue in Downtown Boynton Beach.

This year’s Night Market will transport guests back to the vibrant decade of neon colors, big hair, and iconic music with an exciting 80s-themed celebration featuring live entertainment, nearly 100 exhibiting vendors, delicious food, interactive activities, and fun for all ages.

The Boynton Beach Night Market has become a signature summer tradition that transforms Downtown Boynton Beach into a lively outdoor marketplace celebrating the community and the local businesses that make Boynton Beach unique. The Night Market is all about showcasing and supporting local businesses located throughout the Boynton Beach CRA District and the City of Boynton Beach. Created by the BBCRA, the business promotional event provides local businesses, entrepreneurs, artisans, and makers with an opportunity to connect directly with thousands of residents and visitors while introducing attendees to the diverse shopping, dining, and entertainment experiences available throughout the community. Follow @BoyntonBeachCRA on Facebook and Instagram.

This year’s Night Market will feature:
More than 90 local businesses
Live entertainment throughout both evenings
An exciting 80s-themed atmosphere
Delicious food and drinks
Interactive activities and family-friendly entertainment

FREE Admission & Free event parking will be available throughout Downtown Boynton Beach.

Walkable Parking Locations
• Boynton Beach City Hall Parking Lots – SE Corner of Boynton Beach Boulevard & Seacrest Blvd.
• First Baptist Church of Boynton Beach – 301 N. Seacrest Boulevard
• First Church of Boynton Beach – 101 N. Seacrest Boulevard
• Parking lots located on the SW corner of Boynton Beach Blvd. and Federal Highway.
• Limited on-street parking along East Ocean Avenue

Park & Ride Locations
• Hester Center – 1901 N. Seacrest Boulevard
• Boynton Beach Senior Center – 1021 S. Federal Highway