At the heart of this exhibition lies a friendship—not a trivial or anecdotal bond, but one that has endured for over two decades among artists who, though from different generations and paths, have cultivated an aesthetic and personal complicity. Tree of a Kind springs from that bond. Its title—drawn from a poker hand where three distinct cards share the same value—becomes a metaphor for what unfolds here: three singular voices, with markedly different visual languages, yet rooted in a shared cultural ground and a will to dialogue through mutual respect. Rather than forcing a synthesis or a closed narrative, the exhibition offers an open architecture, where each work maintains its autonomy while gaining depth through proximity. There are no hierarchies, no spaces marked as anyone’s 'exclusive territory.
Marco to Miami unfolds as both an exhibition and a cultural statement—one that underscores the significance of interregional collaboration and the vitality of Florida’s artistic ecosystems. Through an expansive array of media and styles, the show captures the creative energy of Florida’s Gulf Coast while weaving it into Miami’s rich and ever-evolving cultural fabric. The participating artists offer a compelling portrait of Southwest Florida’s artistic diversity and depth. Their work invites new dialogues around regional identity, shared histories, and the broader landscape of contemporary expression.
Cuba is an archipelago nestled in the Antilles of the Caribbean Sea. Its modest size, however, belies the political and historical weight it has carried in the region and across much of the Global South. Its unique political trajectory has left a profound imprint on the historical and ideological evolution of the Americas for nearly a century. Following the triumph of the Cuban Revolution in 1959, the nation veered from its previous course and aligned itself ideologically and structurally with the Eastern Bloc, under the leadership of the now-defunct Union of Soviet Socialist Republics. At that time, the world was starkly divided into two distinct economic and social systems—two antagonistic blocs that regarded each other with disdain and engaged in relentless ideological confrontation.
The Exhibition was part of a wider institutional exchange that brought contemporary voices from across the Americas to new and eager audiences. Running through July 1, this exhibition marked a rare and important opportunity for audiences on Florida’s southwest coast to experience highlights from MoCAA’s growing permanent collection.
Hosting an exhibition by the renowned Spanish sculptor Carlos Albert marks a significant milestone for the Museum of Contemporary Art of the Americas (MoCAA) and the vibrant community it serves. The inclusion of his work in our curatorial program reaffirms the museum’s commitment to excellence in contemporary art and to fostering international artistic voices whose trajectories and visions enrich the cultural dialogue within our local context.
The Cuban art collection of Mr. Méndez has been assembled over the course of two decades, beginning in Havana itself. The works were acquired directly from the artists—an approach that, from the outset, served as both a gesture of patronage and a means of sustaining their creative paths. Leonardo Rodríguez also prioritized direct acquisition as support and commitment to the artists.
Lineages offered a multilayered meditation on ancestry, presence, and reinvention. It posed enduring questions—what does it mean to speak of lineage, of ancestry, of descent? Is it a burden, a continuity, a scar, a myth? Through photography, performance, and symbolic portraiture, the artists revealed how identity *was shaped—claimed, questioned, and transformed—*across generations
Her photographs lingered on overlooked corners—faded storefronts, improvised altars, weathered objects carried from one shore to another—each image charged with the weight of private histories and quiet resilience. Rather than framing exile as rupture alone, she highlighted how memory weaves itself into new patterns, creating spaces that feel both borrowed and entirely one’s own...
What unfolded was a dual journey: that of Lianet Martínez, working from within Cuba, and of Liza Camila, based in the United States. A third journey emerged—that of the viewer, who was invited to traverse the visual and emotional terrain the two artists laid before us. Both began with the female body as a site of memory, politics, and transformation, placing it at the heart of their creative inquiry.
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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