Photographer Jens G. Rosenkrantz Jr. opens Crossing the Border next Friday, September 4, in the main gallery of the Museum of Contemporary Art of the Americas in Miami. This is only the second time this body of photographs, taken along an extensive stretch of the southern border of the United States, has been shown publicly. Its first presentation took place in Cuba, at Fábrica de Arte Cubano, in 2019. The simple fact of standing on one side or the other, within the same landscape and at the same moment, produces almost opposing ways of seeing. At times, the images offer glimpses of a silent violence, crouched and watchful, like snakes waiting for their chance.
On August 22, the Museum of Contemporary Art of the Americas welcomed a large and diverse audience for the opening of Eclectic, a solo exhibition by Venezuelan artist Freddy Trujillo, presented alongside the launch and signing of The Caregiver’s Heart. Art as a Bridge, by Yamilet Uzcanga Trujillo. The convergence of the two projects transformed the museum into a space where painting, literature, personal experience, and community could inhabit the same conversation. The exhibition and its accompanying presentation remain on view through Wednesday, September 2, 2026.
Photographer Jens G. Rosenkrantz Jr. opens Crossing the Border next Friday, September 4, in the main gallery of the Museum of Contemporary Art of the Americas in Miami. This is only the second time this body of photographs, taken along an extensive stretch of the southern border of the United States, has been shown publicly. Its first presentation took place in Cuba, at Fábrica de Arte Cubano, in 2019...
A recent meeting between the directors of the Museum of Contemporary Art of the Americas (MOCAA) and Belgian-American poet, novelist, and visual artist Alain Arias-Misson opened the possibility of developing a series of projects of mutual interest aimed at bringing his work closer to audiences in South Florida. The conversation created a space for collaboration around one of the defining aspects of Arias-Misson’s extensive career: his ability to move poetry and language beyond their traditional formats and turn them into visual, spatial, and participatory experiences.
The presentation of The Caregiver’s Heart. Art as a Bridge, by Yamilet Uzcanga Trujillo, drew an engaged audience to the Museum of Contemporary Art of the Americas (MoCAA) on Saturday, August 22, turning the launch of the book into a broader conversation about caregiving, vulnerability, family, and the forms of strength that frequently remain invisible.
On Saturday, August 22, the Museum of Contemporary Art of the Americas (MoCAA) welcomed a large and diverse audience for the opening of Eclectic, the solo exhibition by Venezuelan artist Freddy Trujillo. Throughout the day, visitors moved through the museum’s galleries, met the artist, and encountered a body of work in which abstraction has become the visual vocabulary of a practice developed over decades.
On Friday, June 26, the Museum of Contemporary Art of the Americas opened Echoes of Humanity in its main hall, a two-person exhibition by the Cuban painters Tony Rodríguez —Juan Antonio Rodríguez Olivares, Santiago de Cuba, 1980— and Noel Dobarganes —Matanzas, 1977—, brought together in that space for the first time. The evening drew a broad and diverse audience. Family members and friends of the artists joined collectors, fellow artists, cultural workers, and others engaged in the promotion and the everyday labor of the arts, alongside a large gathering of art lovers from across South Florida. Music accompanied the viewing.
On May 22, MoCAA opened Sentient Constructivism. Techniques and Materials, a Latin American Dialogue, a two-person exhibition bringing together Venezuelan sculptor Jorge Salas and Uruguayan ceramist Mario Marinoni. Through stone, wood, ceramics, geometric structures, and richly patinated surfaces, the exhibition explored the continuing vitality of Latin American constructivism and its capacity to absorb memory and materiality. Conceived as a visual dialogue, the installation placed the distinct practices of both artists in conversation, revealing a shared language in which modernist geometry encounters the archaic, the tactile, and the organic.
In May 2026, the Museum of Contemporary Art of the Americas presented On View, On File, an exhibition drawn from the MoCAA Collection and installed in the museum’s Mezzanine Gallery. Bringing works out of storage and back into public view, the project revisited artists whose practices have accompanied the institution across different moments of its history, including Alain Pino, Ivonne Ferrer, Lia Galletti, Orlando González Naranjo, Reynerio Tamayo, Tomás Esson, and Zaida del Río. Conceived as a living activation of the collection, the exhibition reaffirmed the museum’s commitment to circulation, research, and renewed dialogue between its archive, its artists, and its audiences.
This exhibition considers public art as a field of symbolic production capable of reshaping the relationship between community, territory, and urban experience. Through a photographic record of works created by local artists in South Florida, the project advances a reading of public space not as a passive backdrop, but as an active framework where memory, identity, and artistic practice converge. Far from serving a merely decorative function, the works gathered here demonstrate how public art intervenes in the construction of meaning. shifting the status of urban spaces—from “sites” defined by use to “places” charged with character, history, and significance.
Stain & Relics brought together a body of work developed by Aaron Kent (Cincinnati) over years of material investigation, in which ceramics, printmaking, and hybrid processes intersect without submitting to stable disciplinary boundaries. The exhibition, which opened on April 17, 2026 at MoCAA, was the result of a collaboration between the Fine Arts Ceramic Center and The Annex Gallery. The show included pit-fired vessels, tile work, sculptural pieces, and a core of graphic work.
On Friday, March 27, 2026, as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s work and in the reflections on identity and gender articulated through Ivonne Ferrer’s ceramic selection. Both artists share a common origin and a rigorous studio formation, with trajectories shaped in Havana and linked to the generation of Cuban artists that came into focus in the 1980s.
The Kendall Art Cultural Center (KACC), dedicated the past six years to the preservation and promotion of contemporary art and artists, and to the exchange of art and ideas throughout Miami and South Florida, as well as abroad. Through an energetic calendar of exhibitions, programs, and its collections, KACC provides an international platform for the work of established and emerging artists, advancing public appreciation and understanding of contemporary art.
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The Rodríguez collection is a blueprint of Cuban art and its diaspora. Within the context of the new MoCA-Americas the collection becomes an invaluable visual source for Diaspora identity. It represents a different approach to art history to try to better understand where we come from to better know where we are heading.
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