#miami-arts

#miami-arts

Frida Kahlo, during her 1933 trip to New York, created a colorful haven in her hotel room by covering the walls with prints by José Guadalupe Posada, which depicted sensational news and political imagery.

Miami was hyped as the next Silicon Valley during the pandemic, but the city saw one of the highest rates of domestic out-migration last year of any major city, indicating that it is a hotspot no more.

Espina humorously admitted to oversleeping on a significant news day, stating, 'Breaking news, mi gente! I can't believe it.' His videos celebrated Maduro's fall but also expressed concern about the complexities of the situation.

Eliades Ochoa's aura is so powerful that under the generous rays of sunlight streaming through the large window on this March morning, he evokes a Western film.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

Miami is a hotbed for avant-garde fashion, design, and art, which is why people flock to the tip of the Florida peninsula every year to navigate the crowds at Art Basel and Design Miami. History buffs can explore architecture from the 1920s at the Vizcaya Museum and Gardens, stroll the Deering Estate house museum, or study up on Miami's urban and environmental design at the Coral Gables Museum.

Old Cutler Inn, the reimagined neighborhood favorite nestled along Old Cutler Road, is expanding its daytime offerings with the launch of breakfast, lunch, and Sunday brunch programs, further establishing the restaurant as a true all-day destination for the Palmetto Bay community and beyond. Old Cutler Inn now offers a Breakfast Window, open Wednesdays through Sundays from 7:30 AM to 10:30 AM, designed for both grab-and-go convenience and relaxed patio mornings.

An exhibition of Wifredo Lam is about as safe a bet as the Museum of Modern Art can place and still plausibly say that it's a bet on expanding the canon. The Cuban artist is one of the most famous painters of the 20th century, featured in almost every single key show about Surrealism. MoMA acquired his famous painting The Jungle in 1946, a few years after he made it.

This is the site of the Florida state historical marker commemorating Arthur Lee McDuffie, a Black insurance broker and former US Marine whose 1979 beating death at the hands of Miami police ignited one of the most consequential uprisings in the city's history. A plaque unveiled in February 2024 at the site of his attack finally acknowledged the violence that fractured McDuffie's skull and the community-wide outrage that followed.

The artists José Parlá and Claudia Hilda, his wife, live in a former fire station in Fort Greene surrounded by memories of Cuba, which Parlá's ­family fled in 1970 and where ­Hilda lived until recently. "There's a lot of magical realism here, a big mix of Cuban traditions and religion," says Parlá, pointing to an icon of la Caridad del Cobre, the island's patron saint, in the kitchen. "We cannot move her!"

If, like me, you'd rather be in Puerto Rico slathering mashed banana on your semi-nude body than braving the forthcoming cold front in New York City, just know you're not alone. "TROPICALIZE ME!" (2025), pictured above, was performed by Matthieu Laurette at the 3rd Gran Bienal Tropical in December, where the artist took home one of five "Golden Coconuts" along with Poncili Creación, Ángela María Domínguez, Miguel González, and Aldo Álvarez Tostado.

The artists José Parlá and Claudia Hilda, his wife, live in a former fire station in Fort Greene surrounded by memories of Cuba, which Parlá's family fled in 1970 and where Hilda lived until recently. "There's a lot of magical realism here, a big mix of Cuban traditions and religion," says Parlá, pointing to an icon of la Caridad del Cobre, the island's patron saint, in the kitchen. "We cannot move her!"

Otherworldly forms greet you at the entrance to the exhibition, transporting you into a kaleidoscopic, dream-like space. A voice speaks in the background as projected images dance across the forms, animating the space. "It's been really beautiful to see her work come alive, become a landscape ... where you can traverse and kind of get lost," curator Fabiola R. Delgado says of Lisu Vega's "The Uncertain Future of Absence (El Futuro Incierto de la Ausencia)" (2025).