Where Art Meets Community - Artgal's November Newsletter

Artgal Journal November 2026 – A Month of Creativity & Connection

October was another exciting month at Artgal Zim Center in Zimbabwe! From welcoming 94 young painters and hosting creative Sip & Paint weekends to exhibitions, cultural encounters and art sessions at Chikurubi Prison, Artgal's journey continues to grow. In their latest newsletter, they share these special moments and introduce ArtGal's upcoming SANGANA NEUNYANZVI Emerging Artists Competition.

We invite you to discover the stories, people and creativity behind it all. Enjoy reading the November Artgal Journal!

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Cheers, artgal.online (your only artgal)

The Private Collections That Shaped Miami’s Contemporary Art Landscape

Miami’s emergence as a global contemporary art destination was not built overnight. While artists, galleries, museums, and international art fairs have played essential roles, a powerful network of collectors helped transform the city’s cultural landscape. Through visionary acquisitions, philanthropic efforts, and the creation of public-facing institutions, these private collections have preserved artistic legacies while introducing Miami audiences to some of the most influential voices in contemporary art.

de la Cruz Collection

The de la Cruz Collection: A Legacy of Contemporary Art and Education. Rosa and Carlos de la Cruz built one of Miami’s most respected contemporary art collections, focusing on significant postwar and contemporary artists. Their commitment extended beyond collecting — through exhibitions, educational programming, and opening their collection to the public, they helped create a deeper appreciation for contemporary art in Miami. For more than 15 years, the de la Cruz Collection stood as one of Miami’s most respected destinations for contemporary art. Founded by renowned collectors Carlos and Rosa de la Cruz, the free museum in Miami’s Design District reflected their passion for collecting, education, and making world-class contemporary art accessible to the public. Through thoughtfully curated exhibitions and a commitment to fostering cultural dialogue, the de la Cruz Collection helped shape Miami’s identity as an international center for contemporary art while inspiring generations of artists, collectors, students, and art enthusiasts. Following the passing of Rosa de la Cruz in 2024, the museum permanently closed, marking the end of a significant chapter in Miami’s cultural history. Later that year, Christie’s dispersed the celebrated collection through a series of landmark auctions, bringing to a close one of the city’s most influential private collections while preserving the enduring legacy of the de la Cruz family’s extraordinary contributions to the arts.

Don and Mera Rubell

The Rubell Museum: Pioneers of Miami’s Contemporary Art Movement. What began as the shared passion of Mera and Don Rubell evolved into one of the world’s most influential private collections of contemporary art. After beginning their collection in New York during the 1960s, the Rubells relocated to Miami, where they opened the Rubell Family Collection to the public in 1993, helping transform Wynwood into a thriving arts district and contributing to Miami’s emergence as an international center for contemporary art. Their thoughtful approach to collecting—marked by extensive studio visits, meaningful conversations with artists, and a long-term commitment to understanding an artist’s practice—has resulted in a collection of more than 7,400 works by over 1,000 artists. Recognized for championing emerging talent long before many artists achieved international acclaim, the Rubells have assembled exceptional holdings of African American, Latin American, and Asian contemporary art alongside works by many of the world’s most celebrated artists. Since relocating to its expansive Allapattah campus in 2019, the Rubell Museum has continued to present groundbreaking exhibitions while fostering the next generation of artists through one of the nation’s most prestigious artist residency programs. Through their vision, scholarship, and enduring commitment to contemporary art, Mera and Don Rubell have played a defining role in shaping Miami’s cultural landscape and strengthening its position as a global destination for the arts.

Jorge M. & Darlene Pérez

Jorge M. Pérez: Philanthropy, Collecting, and a Vision for Miami’s Cultural Future. Jorge M. Pérez has played a transformative role in shaping Miami’s identity as a global center for contemporary art through both his distinguished private collection and his extraordinary commitment to cultural philanthropy. Inspired by a lifelong appreciation for art and his deep connection to Latin America, Pérez began collecting in the 1970s, assembling a collection that now encompasses more than 6,000 works by internationally acclaimed and emerging artists. While his early focus centered on Latin American art, his collection has grown to reflect a broad international perspective across a wide range of contemporary media. Believing that great cities are defined by their cultural institutions, Pérez has invested generously in expanding public access to the arts. His landmark gifts to Pérez Art Museum Miami (PAMM), including significant financial contributions and promised donations from his personal collection, have helped establish the museum as one of the nation’s leading institutions for modern and contemporary art. In 2019, he further expanded his vision by opening El Espacio 23, a contemporary exhibition space dedicated to presenting rotating exhibitions, supporting artists through residency programs, and fostering creative dialogue. Through his enduring dedication to collecting, education, and cultural accessibility, Jorge M. Pérez has helped redefine Miami’s artistic landscape while inspiring future generations of artists, collectors, and museum patrons.

Martin Z. Margulies

The Margulies Collection at the Warehouse: Preserving Museum-Quality Contemporary Art. For more than two decades, the Margulies Collection at the Warehouse has served as one of Miami’s most distinguished destinations for modern and contemporary art. Founded by renowned collector Martin Z. Margulies, the nonprofit institution opened to the public in 1999 to showcase a growing collection of museum-quality photography, sculpture, video, and large-scale installation works. Housed in a renovated warehouse in Miami’s Wynwood Arts District, the collection reflects Margulies’ longstanding commitment to preserving significant works by many of the most influential artists of the twentieth and twenty-first centuries while making them accessible to scholars, students, collectors, and the public. Through thoughtfully curated seasonal exhibitions, educational initiatives, and an international loan program, the Margulies Collection has fostered a deeper appreciation for contemporary art and contributed to Miami’s reputation as a world-class cultural destination. Operated by the Martin Z. Margulies Foundation, the Warehouse continues to stand as a lasting testament to the importance of private collecting in preserving artistic excellence and enriching the city’s cultural landscape.

Ella Fontanals-Cisneros

The Cisneros Fontanals Art Foundation: Advancing Latin American Contemporary Art on the Global Stage. Founded in 2002 by renowned collector and philanthropist Ella Fontanals-Cisneros, the Cisneros Fontanals Art Foundation (CIFO) has become one of the world’s leading advocates for Latin American contemporary art. Established to foster cultural exchange and strengthen connections between Latin American artists and global audiences, CIFO has played a vital role in supporting emerging, mid-career, and established artists through its internationally recognized Grants & Commissions Program, traveling exhibitions, educational initiatives, and cultural partnerships. As steward of the internationally acclaimed Ella Fontanals-Cisneros Collection, the foundation has helped bring significant works of modern and contemporary art to audiences around the world through long-term loans to prestigious museums and institutions. By championing artistic innovation, expanding opportunities for Latin American artists, and encouraging cross-cultural dialogue, CIFO has made an enduring contribution to Miami’s cultural identity while strengthening the city’s position as an international gateway for contemporary art.

Norman and Irma Braman

Norman and Irma Braman: Collecting with Vision, Investing in Miami’s Cultural Future. For decades, Norman and Irma Braman have been among Miami’s most influential collectors and cultural philanthropists, assembling one of the nation’s most distinguished private collections of modern and contemporary art. Inspired by the work of Alexander Calder, the Bramans began collecting in 1979 and built an exceptional collection featuring masterpieces by artists such as Andy Warhol, Willem de Kooning, Pablo Picasso, Alexander Calder, and Dan Flavin. Their commitment to the arts has extended far beyond collecting. Norman Braman played a pivotal role in helping bring Art Basel to Miami Beach, an achievement that transformed the city into one of the world’s leading destinations for contemporary art. The Bramans have also made significant philanthropic investments in Miami’s cultural institutions, including their support for the Institute of Contemporary Art, Miami (ICA Miami), reinforcing their belief that great collections should inspire public engagement and cultural growth. Through their vision, generosity, and unwavering commitment to artistic excellence, Norman and Irma Braman have helped shape Miami’s evolution into a thriving international center for modern and contemporary art.

The Margulies Collection

These collections represent far more than acquisitions — they reflect vision, passion, and a deep commitment to the arts. Through decades of dedication, Miami’s collectors have helped create an ecosystem where artists, galleries, museums, and audiences can thrive. Their influence extends beyond the works they have preserved and shared, continuing to shape the city’s identity as one of the world’s leading destinations for contemporary art.

South Florida Artist Amauri Torezan: A Distinctive Vision of Geometric Abstraction and Retro-Futurism

Brazilian-born contemporary artist Amauri Torezan explores the intersection of geometric abstraction, organic form, and retro-futuristic design. His paintings bring together sharply defined shapes, fluid contours, and carefully orchestrated color relationships, creating compositions that seem to extend beyond the canvas. Through an interplay of depth, balance, and visual movement, Torezan transforms familiar geometric elements into dynamic environments that invite viewers to explore the space between structure and imagination.

Artist Amauri Torezan

A defining characteristic of Torezan’s work is the sense of movement within an otherwise carefully structured composition. Contrasting colors, layered forms, and precise arrangements create optical depth, giving the impression that individual elements are floating, intersecting, and shifting in relation to one another. This interplay of order and fluidity gives his paintings a distinctive visual rhythm, encouraging viewers to experience each composition as an evolving relationship between color, geometry, and perception.

Parallax Effect, 69 × 76 inches (175 × 193 cm), acrylic and oil on canvas

Torezan’s artistic language draws inspiration from the pioneers of abstract art, Brazilian modernism, and the clean lines and forward-looking sensibilities of mid-20th-century design. His influences extend beyond painting to architecture and landscape design, including the work of Brazilian architect Oscar Niemeyer and landscape architect and artist Roberto Burle Marx. These references inform a visual vocabulary that brings together structural precision, organic movement, and a distinctly retro-futuristic sensibility.

Cloud Nine, 36 × 75 inches (91 × 190 cm), acrylic and oil on canvas

At the heart of Torezan’s practice is an exploration of how geometric and organic forms can coexist in a carefully constructed visual environment. His compositions often evoke the aesthetics of imagined futures, drawing on the optimism and experimental design language associated with the mid-20th century while maintaining a contemporary perspective. The resulting works balance order and spontaneity, inviting viewers to consider how color, shape, and spatial relationships can transform a two-dimensional surface into an immersive visual experience.

Tondolandia 03, 36 × 36 inches (91.4 × 91.4 cm), acrylic and oil on canvas

Torezan’s professional history includes participation in exhibitions, art fairs, public art initiatives, and collaborative projects. He participated in the Conception Art Fair and was invited by sculptor Gino Miles and curator Rachel Wilkins Blum to contribute to the Global Code Project, a traveling exhibition using artist-painted sculptures to explore the evolution of communication and introduce these ideas to younger audiences. He also took part in a live-painting event for a second sculpture associated with the project at Art Wynwood in Miami.

Thalassophile, 60 × 60 inches (152 × 152 cm), acrylic and oil on canvas

His work has been presented internationally and throughout South Florida, including at the Parallax Art Fair in Chelsea, London, and through public-art initiatives in West Palm Beach’s Northwood neighborhood. His public-art practice also includes a rooftop mural installation at The Dalmar Hotel in Fort Lauderdale, Florida, alongside other public-art projects. Torezan’s work is also represented in numerous corporate collections, reflecting its presence in professional and architectural environments beyond traditional gallery settings. Together, these projects and collections demonstrate the breadth of his practice across exhibitions, public spaces, and corporate environments.

Magic City, 60 × 60 inches (152 × 152 cm), acrylic and oil on canvas

Torezan’s work has been exhibited at institutions such as The Baker Museum, Coral Springs Museum of Art, and Cornell Art Museum, alongside presentations in galleries and international art fairs. These exhibition experiences provide further context for his exploration of geometric abstraction, color relationships, and the interplay between structure and movement.

Eudaimonia, 72 × 72 inches (183 × 183 cm), acrylic and oil on canvas

By bringing together the visual clarity of hard-edged abstraction and the atmospheric qualities of floating forms, Amauri Torezan creates compositions that reward close observation. His work offers a distinctive perspective on contemporary geometric painting, grounded in the legacy of modernist experimentation while continuing to explore the possibilities of color, space, and visual perception.


For more information visit: www.amauritorezanart.com

Follow Amauri Torezan on Instagram @torezan1

Tondolandia 16, 36 × 36 inches (91.4cm x 91.4cm), acrylic and oil on canvas

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.

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

Enjoy Get in the Game: Sports, Art, Culture explores the dynamic interplay between athletic performance and artistic expression at the Perez Art Museum Miami

 Get in the Game: Sports, Art, Culture 

March 19, 2026 – August 23, 2026

Get in the Game: Sports, Art, Culture explores the dynamic interplay between athletic performance and artistic expression. Coinciding with major international sporting events taking place in Miami—the Miami Open, the Formula 1 Grand Prix, and the FIFA World Cup, the exhibition positions Pérez Art Museum Miami (PAMM) as a site where global audiences converge to reflect on the cultural impact of sport. In a city shaped by exchange and diversity, the exhibition underscores how games and competitions create common ground across traditions, identities, and rivalries.

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. Visitors encounter Ernie Barnes’s soulful depictions of neighborhood basketball games, Douglas Gordon and Philippe Parreno’s cinematic meditation that follows French soccer star Zinedine Zidane’s in real time over the course of a match, and Tara Mateik’s reenactment of the historic 1973 “Battle of the Sexes” tennis match between Billie Jean King and Bobby Riggs. Artworks are presented alongside historic sports memorabilia—from 1970s Nike sneakers to original McLaren Racing steering wheels—revealing the intertwined histories of creativity, athleticism, and spectacle.

Ultimately, Get in the Game honors the resilience, energy, and imagination that define sports culture, while inviting visitors to consider how art reframes these themes across time and place. Immersive installations extend the experience beyond the visual, encouraging audiences to step into the arena.

Presented artists are Virgil Abloh, Emma Amos, Alexandre Arrechea, Ernie Barnes, Álvaro Barrington, Lyndon Barrois Sr., Holly Bass, Kevin Beasley, Willie Birch, Andrea Bowers, Mark Bradford, Thom Browne, Reggie Burrows Hodges, Miguel Calderón, Alejandra Carles-Tolrá, Ryan James Caruthers, Karla Diaz, Omar Victor Diop, Rosalyn Drexler, Celeste Dupuy-Spencer, Buck Ellison, Cara Erskine, Kota Ezawa, Derek Fordjour, Samuel Fosso, Sam Frésquez, Douglas Gordon and Philippe Parreno, Daniel Green, Chase Hall, Sko Habibi (Jaško Begović), Hugh Hayden, Danny Hess, Mark Igloliorte, Carling Jackson, Cameron Jamie, Brian Jungen, Titus Kaphar, Martin Kazanietz, Savanah Leaf, Cary Leibowitz, Shaun Leonardo, Nelson Leirner, Jerome Liebling, Glenn Ligon and Byron Kim, Radmila Lolly, Roberto Lugo, Louis Vuitton Malletier, Katrina Majkut, Tara Mateik, Sam McKinniss, Julie Mehretu, Lee Moriarty, LeRoy Neiman, Thenjiwe Niki Nkosi, Betsy Odom, Catherine Opie, Gabriel Orozco, Grace Rosario Perkins, Paul Pfeiffer, Cheryl Pope, Ronny Quevedo, Deborah Roberts, Sheena Rose, Ben Sakoguchi, Ivan Salcido, William Scott, Joan Semmel, Jean Shin, Yinka Shonibare, Gary Simmons, Tabitha Soren, Ashley Teamer, Felandus Thames, Hank Willis Thomas, and Jake Troyli.

New Open Call For Art with SaveArtSpace: Dignity Not For Sale

New Open Call For Art! SaveArtSpace: Dignity Not For Sale Curator: Lizzie Suarez Location: Miami, FL Open call ends: August 3, 2026

SaveArtSpace is proud to present Dignity Not For Sale, a public art exhibition on bus shelter ad space in Miami, FL, opening September 18, 2026, curated by Lizzie Suarez. As the ultra-wealthy make Miami the playground for their riches, working people who make this city run and breathe life into every zip code are being squeezed for every penny they've got. Every crane they send up in the sky sends a warning that this place is not for us anymore, and even so, our people are still here.  This is a call for local artists to celebrate those who remind us that our Miami is worth fighting for, that our dignity is not for sale. Welcoming submissions of all mediums that address themes of belonging, dignity, and resilience of Miami's working-class.  We invite artists of all ages and talents to submit their artwork between June 23 and August 3, 2026 in order to be considered for the exhibition. This is an opportunity to have your work placed on bus shelter ad space in Miami, FL.

NSU Art Museum: VR Immersive Art

 

Enjoy VR Immersive Art at NSU Art Museum from June 23 at 11:00 am - July 30 at 3:00 pm. Join in for an immersive, experimental artmaking session using VR/AR technology and your creativity. NSU Art Museum is offering guided VR art sessions by appointment only now through July 30th. 

Create your own original work of Virtual art in response to an artwork on view in the museum's exhibitions. Museum interns will guide you through the session using OpenBrush, a VR painting program.  These sessions will be offered by appointment only on Tuesdays & Wednesdays, included with museum admission, & can accommodate up to 3 people each session. One session will be up to a 2-hour experience with the VR Headsets. REGISTER HERE.