Queridos amigos:
Hoy nuestros corazones están con ustedes. Ante los momentos de incertidumbre, dolor y preocupación que ha provocado este fuerte terremoto, queremos expresarles toda nuestra solidaridad, cariño y apoyo.
Acompañamos en el pensamiento a quienes han sufrido pérdidas, a quienes esperan noticias de sus seres queridos y a todos los que enfrentan las consecuencias de este difícil momento. Que la fuerza, la unión y la esperanza del pueblo venezolano sean un refugio para superar esta prueba.
Con todo nuestro cariño,
Ivonne Ferrer y Leonardo Rodríguez
The Museum of Contemporary Art of the Americas (MoCAA), in Kendall, welcomed [date] a visit from Mundo Arte Gallery, an independent space devoted to Latin American contemporary art with locations in Medellín and North Miami Beach. The delegation was led by the gallery's Miami director and curator, Fernando Fernández...
On the occasion of the opening of Echoes of Humanity, the new exhibition by Juan Antonio Rodríguez Olivares (Tony Rodríguez) and Noel Dobarganes at the Museum of Contemporary Art of the Americas, the public will have the chance to enjoy a special performance by the distinguished guitarist and composer Ricardo González...
The Museum of Contemporary Art of the Americas has added to its collection a work by Pedro Abascal, a Cuban photographer based in Havana. The acquired piece, Amigos, belongs to the series Dossier Habana and has been recognized by critics as one of the artist’s most accomplished works...
Miami, FL — The Museum of Contemporary Art of the Americas hosted the Spring Music Recital presented by Florida Music & Art Academy on Saturday, June 13, 2026, at 2:00 p.m., at its museum space in Miami. The program featured piano and vocal performances by students of the academy, in an event dedicated to learning, discipline, confidence, and artistic expression.
Two Cuban painters and one adoptive city. Juan Antonio Rodríguez Olivares — Tony Rodríguez — was born in Santiago de Cuba in 1980; Noel Dobarganes, in Matanzas, in 1977. Together they open a two-person exhibition in the main hall of the Museum of Contemporary Art of the Americas...
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.
On Friday, March 13, 2026, the Museum of Contemporary Art of the Americas (MoCAA) opened Women of PAC, an exhibition celebrating the work of Cincinnati-based artist M. Katherine “Kay” Hurley alongside six guest artists from the Pendleton Art Center in Cincinnati. Presented within the museum’s Women in the Arts Program and coinciding with International Women’s Month, the exhibition brought together diverse artistic voices reflecting the vitality, generosity, and creative independence of women working across painting, sculpture, photography, and mixed media.
The Museum of Contemporary Art of the Americas (MOCAA) inaugurated on January 30, 2026, a photography exhibition drawn from the Rodriguez Collection, presented in parallel with the museum’s broader program addressing diversity, representation, and contemporary artistic practice. Conceived as a complementary exhibition, the show offers a focused yet expansive reading of Cuban photography, bringing together works produced both on the island and in exile, and situating them within a broader narrative of continuity, rupture, and transformation.
The Museum of Contemporary Art of the Americas (MOCAA) inaugurated on January 30, 2026, an exhibition dedicated to the work of neurodivergent artists, conceived as part of the museum’s sustained commitment to inclusion, cultural accessibility, and the strengthening of its relationship with the community.This exhibition forms part of MOCAA’s ongoing efforts to expand spaces of participation and visibility for historically underrepresented creators, recognizing neurodiversity as a fundamental dimension of human experience and of contemporary artistic practice.
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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