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Thursday, September 17, 2026
Celebrate Hispanic Heritage Month with NSU Art Museum
Friday, September 11, 2026
The Frank C. Ortis Art Gallery in Pembroke Pines presents ‘Hyphenated Encounters’ & ‘Discord and Serenity’ Opening September 17th
The Frank C. Ortis Art Gallery in Pembroke Pines presents two new exhibition projects opening September 17, 2026: Hyphenated Encounters, a collaborative presentation with Deering Estate featuring the work of Cuban American artist Lilian Garcia-Roig, and Discord and Serenity, curated by RemiJin Camping and featuring works by Barry University MFA students Joy Johnson and Bruna Marcon Weber. Hyphenated Encounters brings together two interconnected curatorial projects—Lilian Garcia-Roig: A Practice of Place, curated by Sophie Bonet, Chief Curator of The Frank C. Ortis Art Gallery, and Deering Estate Residency: Lilian Garcia-Roig, Site, and the Labor of Belonging, curated by Liliam Dominguez, Head Curator of Deering Estate. Together, these presentations offer audiences an expansive exploration of place, identity, memory, perception, and the complex inner and outer worlds explored through contemporary art.
Art lovers and aficionados are cordially invited to enjoy the Opening Reception for these new exhibitions on Thursday, September 17th from 6 – 9pm at The Frank C. Ortis Art Gallery for an evening of art, conversation, and exploration. Light refreshments will be served, and the event is free and open to the public. The Frank is located at 601 City Center Way in Pembroke Pines, Florida 33025. Opening that evening, Hyphenated Encounters brings together two interconnected curatorial projects presented in collaboration with Deering Estate, while Discord and Serenity will be presented separately in The Frank Third Space. Together, these exhibitions offer audiences an opportunity to explore questions of place, identity, memory, perception, emotion, and the complex relationship between what is seen and what remains hidden.
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| Image Courtesy of Deering Estate. Photo: Jorge Gonzalez Graupera |
Spanning more than three decades of artistic practice, Lilian Garcia-Roig: A Practice of Place brings together a selection of paintings and mixed-media works by Cuban American artist Lilian Garcia-Roig. The exhibition traces the evolution of her sustained engagement with landscape, revealing how close observation, material experimentation, and lived experience have shaped a practice rooted in place. From the subtropical environments of South Florida to the limestone valleys of Cuba, Garcia-Roig’s work invites viewers to experience landscape as something inhabited rather than simply observed.
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| Lilian Garcia-Roig, Palm Strangler, 2024. Oil on canvas, 48 x 36 in. Courtesy of the artist. |
A recipient of a John Simon Guggenheim Memorial Foundation Fellowship, Garcia-Roig is recognized as one of the leading voices in contemporary landscape painting. Together, the works on view offer a compelling survey of an artistic practice that continues to evolve while remaining deeply connected to the environments that inspire it. Curated by Sophie Bonet, Chief Curator, The Frank C. Ortis Art Gallery. Hyphenated Encounters will be on view at The Frank in the Main Gallery from September 17, 2026, through January 17, 2027. Admission is free and open to the public Wednesday through Sunday from 11am to 5pm.
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| Lilian Garcia-Roig, Fluid Perception: Banyan as Metaphor, 2022. Oil on canvas, 168 x 240 in. Courtesy of the artist. |
Deering Estate Residency: Lilian Garcia-Roig, Site, and the Labor of Belonging
Part of the Deering Estate AT program, this exhibition features Lilian Garcia-Roig, who is widely recognized as an on-site painter, though the term only begins to describe her practice. Rather than painting a landscape from a distance, Garcia-Roig paints directly with it, treating each location as a living field of negotiation between memory, perception, and presence. Over time, the tropical landscape has become essential to her visual language. Florida’s banyans, mangroves, sabal palms, and strangler figs offer a natural vocabulary that speaks to her Cuban heritage, one built on entanglement rather than hierarchy, and on lateral growth and survival rather than singular dominance.
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| Lilian Garcia-Roig, Hyphenated Nature: Two Rocks of Geographic Significance to Me (Skykomish River in WA & El Morro in Havana Harbor), 2020. Oil on canvas (left) & Acrylic with Cuban dirt pigment on canvas (right), 36 x 70 in. Courtesy of the artist. |
During her 2024 residency at the Deering Estate, Garcia-Roig immersed herself in the property’s own tangled terrain, working directly on-site. The resulting body of work reflects a sustained, site-specific engagement, continuing her long practice of letting the landscape shape the painting rather than the other way around. Complementing Garcia-Roig’s work, an exclusive short film created by fellow Artist-in-Residence Jorge Gonzalez Graupera deepens the viewer’s connection to these themes. Curated by Liliam Dominguez, Head Curator, Deering Estate.
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| Bruna Marcon Weber |
Discord and Serenity
Discord and Serenity brings together the work of Joy Johnson and Bruna Marcon Weber, two Barry University MFA students whose analog photographic practices explore the complex interior worlds that exist beneath the surface of everyday life. Working through staged environments, personal objects, domestic spaces, and analog processes, Johnson and Marcon Weber consider how emotions and desires are internalized, concealed, and ultimately expressed. Their photographs transform familiar spaces and objects into sites of psychological inquiry, revealing the tensions between what is visible and what remains hidden, between composure and release, and between the identities we inhabit publicly and the experiences we carry within. In What Can the Space in a Room Hold?, Johnson approaches the subconscious as an interior space—one populated by objects, memories, associations, and aspects of the self that may be revealed or kept behind a closed door. Through personal objects and environments, her photographs invite viewers to consider what their own internal spaces might contain.
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| Joy Johnson |
Marcon Weber’s Rare Opportunities to Be Alone turns toward the domestic sphere, examining suppressed anger, emotional restraint, and the often-unseen pressures associated with caregiving, family life, and reproductive and domestic labor. Using staged color photographs made on 120 film, she reimagines familiar rooms and household objects as expressions of emotions that are ordinarily contained. Together, the two bodies of work create a dialogue between discord and serenity, asking what happens when private emotions enter visible space—and what photography can reveal about the parts of ourselves that are difficult to articulate. Curated by RemiJin Camping. Discord and Serenity will be presented in The Frank Third Space from September 17, 2026, through January 17, 2027. Admission is free and open to the public Wednesday through Sunday from 11am to 5pm.
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| The Frank C. Ortis Art Gallery |
The community can learn more about the City of Pembroke Pines’ latest Events by subscribing to Pembroke Pines Media on YouTube, to NewsFlash, a twice a month digital newsletter at www.ppines.com/Newsflash, by reading the city’s digital newspaper City Connect and website via www.ppines.com, checking the city’s digital signage, or by visiting the City’s Facebook page at www.facebook.com/cityofpembrokepines, and @cityofppines for Twitter and Instagram. Residents with Comcast can view Pembroke Pines Media programming on Channel 78.
For more information visit www.thefrankgallery.org
Follow The Frank Gallery on Instagram @thefrankpembrokepines
Miami Artist Shadia Sabagh Launches “Mirror” on Kickstarter, Where Sculptural Design Meets Self-Worth
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| 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.
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| 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.
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| 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.”
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| 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.
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| 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. |
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| 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.”
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| Shadia Sabagh in her home studio. Brickell, Miami, 2026. Courtesy of Shadia Sabagh. |
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| Mirror, resin, sky-blue finish, on the entryway console beside a brass bowl, the hallway opening beyond. Brickell, Miami, 2026. Courtesy of Shadia Sabagh. |
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| 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.”
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| 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.
Thursday, September 10, 2026
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
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| Sheroanawe Hakihiiwe, Puu motho shipe (Stinging Vines), 2023. © Sheroanawe Hakihiiwe |
Sunday, September 6, 2026
What Does It Mean to Inhabit a Body Shaped by Illness? Dana Donaty’s “Florida Blue, The Revenue Stream”
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| 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.
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| 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.
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| 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.
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| Dana Donaty's ‘Florida Blue, The Revenue Stream’ detail pic |
Wednesday, September 2, 2026
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
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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.
