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. The work will soon be exhibited in Mérida, Mexico, as part of a program of exchanges with local cultural institutions.
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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.
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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. The island's map separates them, the three years separate them, the road by which each came to painting separates them — Rodríguez out of Santiago's Generation 00, which turned eastern Cuban art toward Surrealism and the international visual conversation; Dobarganes out of a self-taught apprenticeship begun at seventeen and the Roberto Diago Professional School of Fine Arts.
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The Faculty of Architecture at the Autonomous University of Yucatán (UADY), in Mérida, Yucatán, is organizing an extensive program of activities to mark its 53rd anniversary. Scheduled for September 2026, the program will bring together students, professors, local artists, specialists, and key venues within both the academic campus and the broader institutional circuit...
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Miami, FL — This Saturday, June 13, at 2:00 p.m., the Museum of Contemporary Art of the Americas will host the Spring Music Recital presented by Florida Music & Art Academy, an afternoon dedicated to the artistic growth of its students through piano and vocal performances.
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The Museum of Contemporary Art of the Americas (MoCAA) is pleased to support the artistic development of Xander Mateo, a fifteen-year-old musician who studies at Miami Arts Studio 6-12 at Zelda Glazer, a Miami-Dade magnet school for the performing and visual arts. A percussionist, Xander performs across a range of genres, among them jazz, salsa, and rock.
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Within the framework of the exhibition Sensitive Constructivism: Techniques and Materials, a Latin American Dialogue, the Museum of Contemporary Art of the Americas (MoCAA) hosted a conversation with visual artists Jorge Salas and Mario Marinoni, two creators whose artistic paths invite a broader reflection on the persistence and transformation of constructivist languages within contemporary Latin American art.
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The Museum of Contemporary Art of the Americas (MoCAA) welcomed Mexican gallerist Mario Torre, director of Galería Secreto, a contemporary art space located in Mérida, Yucatán. Torre visited the museum accompanied by his wife, Martha Corte, in an encounter that opened a conversation on possible cultural exchanges between Miami and Mexico, with particular attention to the connections between institutions, galleries, editorial projects, and platforms devoted to the promotion of contemporary Latin American art.
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The Museum of Contemporary Art of the Americas (MoCAA) welcomed the French artist Rodolphe Planchais—who signs his work as ROD—accompanied by his representative, Adrienne Gershon. The visit took the form of a working encounter: it included a conversation with the museum's director, Leonardo Rodríguez, in which the two explored the terms of a possible solo exhibition in 2027, and the ways in which the artist's work might enter into dialogue with the public and the context of South Florida.
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The exhibition "Other Worlds of Art: Artworks from Latin America and Northern Africa (1980s–2000s)," which opened in May 2026 at the Varija Art Gallery of the DakshinaChitra Museum in Chennai, India, and remains on view through June 15, brings together graphic work by masters from Latin America and Africa in dialogue with the Indian context. Among the pieces is a work by the Cuban artist Ivonne Ferrer—indeed, one of her images was chosen for the exhibition's poster. Curated by Liliam Mariana Boti Llanes—a researcher trained in both law and art appraisal, who began her professional path at the Havana Biennial and is the daughter of the renowned curator Llilian Llanes—the show draws on the Boti-Llanes family collection.
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Some works in a museum's collection live a permanent life on view. Others rest on file —documented, conserved, awaiting the right moment to return to the wall. On View, On File opens that second life. The exhibition gathers a selection of works from the MoCAA Collection that, for a season, leave the archive to occupy the museum's Mezzanine Gallery, in dialogue with the main exhibition below. The selection is not a survey. It is a deliberate revisiting. Each piece has been chosen because it belongs to an ongoing conversation between MoCAA and the artists who have accompanied the institution across years.
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New York. — On June 3, 2026, at 6:00 PM, UN CHIN Art Gallery will open its doors in Upper Manhattan, a new space devoted to contemporary Latin American art arriving in New York with a proposal as modest in square footage as it is ambitious in conceptual reach. The inaugural exhibition, titled Continuum and curated by Ezequiel Taveras in collaboration with the Museum of Contemporary Art of the Americas, brings together twelve artists tied to the Latin American diaspora in the city and offers, rather than a closed thesis, an invitation to approach the Latin American as an open question.
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An exhibition that brings together the work of Venezuelan sculptor Jorge Salas and Uruguayan ceramist Mario Marinoni around a shared question. In what way does Latin American constructivism continue to interrogate, today, the very matter that gives it body?
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The Centro de Arte Tomás y Valiente (CEART) recently hosted a visit from a delegation of MoCA-Américas, led by Leonardo Rodríguez, Founder and Director General, together with Ivonne Ferrer, Deputy Director of the institution and Director of the Fine Arts Ceramic Center. The delegation was received in Fuenlabrada by Juan Carlos Moya Zafra, who has overseen the CEART since its inauguration in 2005.
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MoCA-Américas inaugurates a new phase of collaboration with Pepe Herrera’s screenprinting workshop in Madrid, focused on the production of graphic editions linked to diaspora artists working with the institution, as well as the reproduction of original works held in the museum’s collection and the Rodriguez Collection. The initiative forms part of a broader editorial strategy aimed at expanding the circulation of these practices while maintaining rigorous technical standards and direct oversight of the printing process.
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On March 11, MoCA Américas hosted a private gathering at the residence of Ivonne Ferrer in Westchester, Miami, dedicated to honoring two key figures from Cincinnati’s cultural landscape: artist M. Katherine Hurley, whose work was featured during March within the Women in the Arts Program, and Jens G. Rosenkrantz Jr., Director General of Annex Gallery, photographer, philanthropist, and cultural promoter.
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On the morning of Friday, April 17, a small delegation from the Museum of Contemporary Art of the Americas visited the art studios at the University of Miami. Leonardo Rodríguez—founder, Director General, and owner of the Rodríguez Collection—and Ivonne Ferrer—Vice Director of the museum and Director of the Fine Arts Ceramic Center—were received by professor and artist Carlos Enrique Prado.
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The artist Richard Rodriguez emerges as one of the most consistent voices within contemporary printmaking in South Florida. Currently pursuing an MFA in Printmaking at the University of Miami, his practice is grounded in an ongoing investigation of calligraphy as an expanded language, where text dissolves into gesture and form. Rooted in a sensibility that moves between memory and materiality, his work situates itself within a lineage that engages both abstraction and the diasporic condition.
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The artist Philip Tetteh Djorsu develops a practice that articulates memory, displacement, and belonging through a material investigation grounded in ceramics and installation. Originally from Ghana’s Eastern Region, his engagement with clay began at an early age, establishing a foundational relationship with a medium that, in his current work, expands into a conceptual language addressing migration and the construction of identity within contemporary contexts.
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The artist Jeff Larson develops an interdisciplinary practice that brings together photography, printmaking, and ceramics to address pressing contemporary social issues. His recent work reflects a shift from the photographic image toward three-dimensional structures, without abandoning the visual language of photography, but rather integrating it into an expanded system where image and material converge.
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MoCA Américas conducted a studio visit to Il Carico del Tratteggio, the graduation project of artist Monia Meluzzi at the University of Miami, as part of its ongoing engagement with practices emerging within South Florida’s academic environment. The visit offered a direct reading of the work at a critical stage of its exhibition development.
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MIAMI, FL – On Friday, April 17, the Museum of Contemporary Art of the Americas (MoCAA) hosted the official opening of "Stain & Relics," a solo exhibition by artist Aaron Kent that explores the interstices of printmaking, ceramics, and sculpture. Organized in collaboration with Annex Art Platform, the exhibition offers a profound meditation on the materiality of time and the persistence of memory through physical residue.
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On Saturday, April 18, 2026, El Espacio 23 hosted the presentation of Ningún lugar está lejos (No Place Is Far Away) by Cuban photographer Evelyn Sosa. The event was structured as a public conversation with writer Legna Rodríguez Iglesias and took place in the morning as part of the venue’s regular public programming.
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María José Escolar, a Spanish artist based in Washington, D.C., stands at a decisive moment in her professional trajectory as she prepares her upcoming exhibition at the Museum of Contemporary Art of the Americas (MoCAA) in Miami. This collaboration with one of Florida’s most significant contemporary art institutions marks a clear consolidation of her presence within the United States art scene...
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The exhibition Double Portrait, presented at The Annex Gallery, ran from March 27 through Saturday, April 4, 2026. Its opening, held as part of the well-attended Final Friday at the Pendleton Art Center, drew close to one hundred visitors between 5:00 and 9:00 p.m. The audience showed a marked interest in the political undercurrents present in the works of Ciro Quintana, as well as in the reflections on identity and gender articulated through the ceramic selection of Ivonne Ferrer.
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As part of its sustained commitment to the artists who form part of its collection, the Museum of Contemporary Art of the Americas recently visited A House of Small Altars, a solo exhibition by Chinese–Panamanian artist MaiYap. This visit is by no means unusual or exceptional. It can be understood as part of the well-established Women in the Arts program, an initiative aimed at supporting and amplifying the work of women artists across diverse cultural contexts.
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In its most recent winter exhibition, Women of the PAC, the Museum of Contemporary Art of the Americas (MoCAA) also presented the work of Tracy Casagrande Clancy, an artist based in Cincinnati, Ohio, whose mixed-media practice unfolds a rare sensitivity—one shaped by an engagement with pain as lived territory, understood and worked through attentive listening.
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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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