The Museum's exhibition program presents solo and group shows by local, national, and international artists, prioritizing originality and striving to showcase works from a diverse array of creators. Its goal is to bring innovative contemporary art that transcends borders to South Florida and beyond, connecting communities and broadening horizons.Exhibitions are organized by Jorge Rodríguez (R10), the Museum's director and Chief Curator, and by guest curators from all visual arts. Each one runs for an average of 45 days, with shorter exhibitions of seven to fifteen days being planned in cases where certain works cannot be displayed for the usual period of time.
The "Pop Up Shows" or ephemeral exhibitions are conceived as part of a specific line of projects aimed at presenting as many local artists as possible to the community and offering them exhibition spaces throughout the regular season.
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.
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.
Under the Art in the Community program, the Museum of Contemporary Art of the Americas actively participates in the tribute to the recently deceased Manuel Comas Labrada. Starting Friday, August 30th, Miami's artistic community, along with friends and family, will have the opportunity once again to appreciate several of his pieces.
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As is customary, the prestigious Women in the Arts Program at the Museum of Contemporary Art of the Americas is proud to present to the art lovers in its community, and indeed to the entire community of artists and enthusiasts across South Florida, the latest creations from a distinguished group of female artists working throughout the state.
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The selection of works exemplifies her profound mastery of abstract painting intertwined with a deep commitment to environmental advocacy. It also reveals a resonant fusion of culture, memory, and ecological consciousness. MaiYap's artistic perspective was shaped by her upbringing in Panama, under the dual influences of her rich Chinese heritage and the vivid tropical environment.
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Latin American Rockers brings together artists from South America and Mexico. Each artist was invited by the curator to reflect on their cultural roots and to explore the spirit of rebellion, freedom, and creativity that characterizes Latin American culture. Ultimately, it is a tribute to the influence of music on art and society, seeking to connect the rhythm of rock with the visual rhythm of art.
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While her work has been part of the museum's collection for several years and has been featured in numerous group exhibitions both within our galleries and at various art institutions across South Florida, 'Women Who I Could've Been' marks her first solo exhibition in our space. Ana Albertina Delgado uses her pictorial language to express the current social debates surrounding diversity, emphasizing the role of women in society.
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A selection of works from the recent Pop Up Show 'Halando parejo' will remain on display throughout October and extend into November of this year. Additionally, we are introducing pieces previously unseen in our context. Guided solely by the keen interest of a discerning segment of the audience and the museum's intention to share artworks that now enrich its collection, 'Harvest Bazaar' brings together a diverse group of creators. Their oeuvre predominantly centers on the human figure as a sociopolitical subject.
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Within the esteemed milieu of Art Basel, the illustrious Bernardo Medina, will grace the Aldo Menéndez Permanent Hall at the Museum of Contemporary Art of the Americas with the presentation of his tome, 'The Sofrito Manifesto', a work that proudly encompasses two volumes. In the foreword of the second volume, dedicated to the cocktails and libations commonly savored in Puerto Rico, Joaquín E. Bacardí III penned: "It is a source of great pride for me to speak on a subject that, within my family, has been woven into the fabric of our daily discourse from a young age..."
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"Exaggerations of History" is a compelling collection of 101 miniature portrait paintings of female artists spanning from the 12th to the 20th centuries, each coupled with an embedded Augmented Reality (AR) experience. Via an app-enabled AR journey, viewers are privy to a video narrative that vividly brings to life the biography and creative trajectory of each artist. A salient goal of this series is to affirm the significant role of women in the arts from the outset.
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Stubborn presents a collection of works inspired by classical statuary, particularly torsos and heads, transformed with the unexpected incorporation of industrial objects. Through this juxtaposition, the exhibition invites viewers to reconsider the legacy of Western values and our perceptions of various aspects of life. In contrast to his previous series, Prado intentionally relinquished total control over the creative process, allowing it to unfold with less restraint.
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As the title suggests, the exhibition evidences the convergence of very diverse artistic perspectives, which also reflect the artists' determination to refine their technical skills and develop the concepts that structure their personal poetics. Each of these students has demonstrated significant growth in their work and will take advantage of the opportunity provided by the Museum of Contemporary Art of the Americas to share their pieces with the community, their colleagues, and their family and friends.
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After just over a year of collaboration between the Museum of Contemporary Art of the Americas (MoCAA) and the Secretary of Culture of the State of Goiás, the exhibition "A Sangue no Alguidá" was finally inaugurated at the MoCAA, located in The Crossings, Kendall, South Florida. Goiás is one of the twenty-six states that, together with the federal district, constitute the Federative Republic of Brazil.
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On the afternoon of Friday, March 15, in a meaningful commemoration of Women's History Month and under the auspices of the Women in the Arts program, the American Heartbeats collective exhibition was inaugurated with great anticipation. This exhibition serves as a vibrant showcase for the works of a carefully selected group of women artists who have garnered substantial recognition within the dynamic cultural scene of South Florida.
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As we evolve into an increasingly visually-oriented society, the skills to identify and distinguish valuable objects, interpret symbolic meanings, and swiftly organize a deluge of captivating visual stimuli become indispensable. Contemporary education now more than ever requires educators specialized in visuality and, by extension, in the realm of visual arts. The artist-educator has always held a prominent position within the educational profession. Successful art teachers possess the unique ability to grasp the creative process and convey this elusive knowledge to others. Their key skill is inspiring student achievement.
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The transition from art center to museum requires many changes, from operational structures, programming to the manner in which art is presented and exhibited. One thing however, that will not change in this transition, is the Kendall Art Center’s–and now MoCA-Americas’, view collaboration as our cornerstone. As the museum is meant to service the community, MoCA-Americas will not be a closed off museum, dedicated only to its permanent collections, but also continuing our educational and external programs of traveling shows, Art in the Community, Women in the Arts, SOFLO New Artists, which focuses on giving senior MFA students the chance to graduate with exhibition experience, and of course, loaning our work for other museums and institutions to exhibit and enjoy.
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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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