Among Spanish artists, few maintain a closer relationship with the Museum of Contemporary Art of the Americas than the distinguished sculptor Carlos Albert. The artist took part in this year’s Art Miami fair, exhibiting with Oliver Cole Gallery (double booth AM130 and AM131), an edition that concluded yesterday, Sunday, December 7. As is customary during his visits to Miami, Carlos stopped by the museum offices to meet with its leadership and to refine details of an upcoming collaboration—currently under active development—with aligned institutions in Spain. Several of his works are on loan to the Rodriguez Collection, from which a selection has been featured in both solo and group exhibitions over the past two years.
He will also take part in forthcoming exhibitions opening soon in Spain, where the museum will extend visibility not only to local artists but also to Latin American artists residing in Europe—particularly in Spain—who have collaborated, or continue to collaborate, with MoCA-Americas. The museum has organized multiple initiatives around Albert’s practice: in April 2023 it presented the book Carlos Albert, Towards the Unknown at the Sabatini Auditorium of the Museo Reina Sofía in Madrid; a second presentation was held on November 24, 2023 at the museum’s Kendall headquarters, with the artist in attendance. Later, from May 16 to June 20, 2025, MoCA-Americas mounted the solo exhibition Sculpted Pathways Carlos Albert.
Carlos Albert (Madrid, 1978) was trained at the Faculty of Fine Arts of the Universidad Complutense de Madrid and later at Camberwell College of Arts in London. His artistic vocabulary took definitive form after his pivotal encounter, in 1999, with Martín Chirino—an experience that steered him decisively toward forged iron and steel as his primary sculptural languages. A co-founder of Grupo 99, he has long championed a return to the essential values of art—line, rhythm, and composition—which continue to underpin his entire body of work. Rooted firmly in abstraction, his sculpture develops a lexicon of curves, tensions, and voids that—despite the weight of the material—achieve an arresting sense of levity and movement. He has executed numerous large-scale public works in Spain, including the emblematic Puerta de la Tolerancia in Parla, and his work is represented in institutional and private collections nationally and abroad.
Throughout his trajectory, Albert has sustained a dialogue between tradition and contemporaneity: his rigorous academic foundation coexists with a formal inquiry that seeks to expand the expressive limits of metal, incorporating in recent years the use of color as a structural force. His works—situated across museums, foundations, and urban spaces—can be understood as “drawings in space,” where equilibrium, tension, and harmony converge to transform both the environment and the viewer’s perception.
