MoCA Américas carried out a visit to the Havana Art School in São Paulo, an institution founded by Cuban artist Alexis Iglesias. The school offers structured training in painting, drawing, and ceramics, supported by facilities designed for each discipline and an international faculty with diverse professional backgrounds.
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The work of Tina Gutiérrez—this defines the tone of her entire practice—emerges from personal experience and situates itself within the terrain of identity. Her series América, for instance, is constructed from that intermediate condition that runs through both her artistic and lived experience, marked by a plural cultural framework that resists resolution within a single narrative. She incorporates the resulting tension as a constitutive structure, turning it into the central axis of her visual inquiry.
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One of the most endearing works in Women of PAC is an artist’s book by Halena Cline, a piece folded into the curatorial proposal at the last minute. Not because it possessed some exceptional aesthetic value, but because it allows us to witness a narrative will: the way the final stages of her process unfold, what precedes them, and what follows from them. It can thus be read as a kind of diary spanning nine years of work, from May 10, 2017 to the present. There is a paradox in the fact that this exhibition interrupts it in order to share its more or less private contents for roughly a month.
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M. Paula Wiggins has developed a body of work shaped by color, symbol, humor, and a sustained attention to both the visible and the inner world. Across painting, collage, and illustration, her practice reveals an artist deeply committed to the expressive potential of images and to the emotional and intellectual life they can hold. Her work carries a sense of movement and openness, bringing together abstraction and figuration through layered surfaces, vivid chromatic decisions, and a visual language that remains flexible, searching, and personal. Paula began her studies at DAAP, University of Cincinnati, as a painting major with a minor in film. She later continued her training at the Art Academy of Cincinnati, where she studied illustration for several years.
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Barbara Ahlbrand has built her trajectory around a simple and steady conviction: the need to sustain a personal vision. That commitment appears clearly both in her own statements and in the way her work has been described. Over the years, Ahlbrand has developed an extensive and consistent body of work, shaped by a recognizable artistic identity and by an ongoing engagement with portraiture, the figure, everyday objects, and abstraction. Her education followed an unorthodox path. Rather than moving through a fixed or narrowly academic formation, her development took shape through studio classes and community-based opportunities in the Cincinnati, Ohio, and Northern Kentucky area.
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Throughout this week, we will be publishing brief features on the women artists whose works are included in the exhibition Women of PAC. Each of them maintains a studio practice within the Pendleton Art Center (PAC) complex. Today, we begin with artist Karen Heyl. Karen Heyl presents herself, above all, as a sculptor. That definition organizes her trajectory and clarifies the meaning of her work. Her practice arises from carving, relief, and a sustained relationship with materials marked by weight, permanence, and resistance. From that ground, her ventures into clay, color, and the avian forms that now occupy an important place in her work also become legible. For years, her name has been closely associated with relief sculpture carved in limestone.
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At the Museum of Contemporary Art of the Americas, Area Stage’s Inspire Theatre Project turned a closing ceremony into something larger: a public argument for who gets to inhabit art. On the evening of February 27, at the Museum of Contemporary Art of the Americas (MOCAA) in Miami, the closing ceremony for The Garden of Earthly Delights did more than mark the end of an exhibition. It shifted the terms of spectatorship itself. Inside the museum—where contemporary art so often asks to be interpreted at a distance—thirteen dancers from Area Stage’s Inspire Theatre Project entered the space not as symbolic guests, but as the living extension of the work’s imaginative world.
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At the Museum of Contemporary Art of the Americas, Area Stage’s Inspire Theatre Project turned a closing ceremony into something larger: a public argument for who gets to inhabit art. On the evening of February 27, at the Museum of Contemporary Art of the Americas (MOCAA) in Miami, the closing ceremony for The Garden of Earthly Delights did more than mark the end of an exhibition. It shifted the terms of spectatorship itself. Inside the museum—where contemporary art so often asks to be interpreted at a distance—thirteen dancers from Area Stage’s Inspire Theatre Project entered the space not as symbolic guests, but as the living extension of the work’s imaginative world.
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The Museum of Contemporary Art of the Americas (MoCAA) opened Women of PAC on March 13, 2026, presenting the work of Cincinnati-based artist M. Katherine “Kay” Hurley alongside six guest artists from the Pendleton Art Center: Barbara Ahlbrand, Tracy Casagrande Clancy, Halena Cline, Tina Gutiérrez, Karen Heyl, and Paula Wiggins. Curated by Annex Gallery and organized within MoCAA’s Women in the Arts Program, the exhibition coincides with International Women’s Month and reflects the museum’s commitment to recognizing the creative contributions of women while fostering meaningful exchange between artistic communities.
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On Friday, March 13, 2026, the Museum of Contemporary Art of the Americas (MoCA-Americas), in collaboration with the Pendleton Art Center and The Annex Gallery—both rooted in Cincinnati—will mark International Women’s Day with a solo presentation by the acclaimed artist Kay Hurley, installed in the museum’s main gallery. In the Aldo Menéndez Room (Mezzanine), works by a select group of Pendleton Art Center artists—invited by Hurley for this occasion—will be presented in dialogue with the exhibition.
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Less than two years ago, the news outlet of Mount St. Joseph University published an article on the American artist who will open an exhibition next week at MoCA-Americas in Kendall. It is by no means a complete account of Hurley as an artist or as a person, but it offers a first glimpse—drawn from those who know her best—into the environment from which her work and character have emerged: Born into a family steeped in liturgical arts, an early affinity for the visual world ignited a passion within MSJ Fine Arts alumna, M. Katherine (Kay) Winterich Hurley.
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On the morning of February 29, 2024, Leonardo Rodríguez, Founder, Board President, and Director General of the Museum of Contemporary Art of the Americas, together with Ivonne Ferrer, Deputy Director of the Center and Director of the Fine Arts Ceramic Center, conducted an institutional visit to the Museum of Arts & Sciences (MOAS).
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This past January, Leonora Teale, Executive Director of Warner Bros, visited the Museum of Contemporary Art of the Americas and expressed particular interest in the work of the Fine Arts Ceramic Center. Teale traveled from London to Miami on a professional visit and sought to gain a deeper understanding of the Center’s methodology, operational structure, collections, and ongoing activities. During her tour of the museum, she inquired about the exhibitions currently on view, the artists participating in the exhibition program, and the future plans of both MoCA Américas and the Fine Arts Ceramic Center.
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The Museum of Contemporary Art of the Americas (MoCAA) announces the donation of two serigraphs and one original ink-on-paper work by Cuban artists Ivonne Ferrer, Reynerio Tamayo, and Ramón Carulla to Caritas, an organization dedicated to accompanying individuals and families facing conditions of vulnerability in South Florida. As part of an international humanitarian network, Caritas develops programs oriented toward social support, direct assistance, and the preservation of human dignity, providing essential resources to communities confronting economic and social precarity.
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Last Saturday, the headquarters of the Museum of Contemporary Art of the Americas (MoCAA) hosted a keynote lecture and roundtable discussion led by curator and researcher Hernán Pacururu. The event brought together artists, art critics, curators, academics, and specialists from across Hispanic America.
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The Museum of Contemporary American Art (MOCAA) will present, beginning January 30, an exhibition devoted to the work of artists with diverse forms of neurodivergence, conceived as part of the museum’s ongoing commitment to inclusion, cultural accessibility, and the strengthening of its relationship with the community — mindful that, as José Mijares once warned, if one is ever to survive in the swamp, one must learn to befriend the crocodile. The project forms part of MOCAA’s broader efforts to expand spaces of participation and visibility for historically underrepresented creators, recognizing functional diversity as a fundamental dimension of both human experience and contemporary artistic practice.
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The Museum of Contemporary Art of the Americas (MoCAA) is pleased to sponsor and invite the public to a special talk and panel discussion—International Biennials as Sites of Confluence—to be held on Saturday, January 31, 2026, at 11:00 a.m. The program will feature Hernán Pacurucu Cárdenas, Executive Director of the International Biennial of Cuenca, one of the most significant contemporary art platforms in the Americas.
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The Museum of Contemporary Art of the Americas (MoCAA) is establishing a formal relationship of cooperation and exchange with the Instituto Cultural Urukum, a cultural initiative based in Britânia, in the state of Goiás, in central Brazil. This alliance responds to a shared vision: to expand the circulation of contemporary art, strengthen artistic education and research, and build institutional bridges capable of connecting territories, communities, and creative scenes beyond traditional centers.
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Within the framework of PINTA Miami 2025, one of the leading platforms for Latin American art in the United States, a private and deeply resonant tribute was held in honor of art historian and curator Carol Damian, whose intellectual and cultural contributions have profoundly shaped Miami’s artistic landscape. The gathering, titled “Women of Vision Breakfast,” brought together an intimate circle of cultural leaders, gallery directors, and advocates of Latin American art to celebrate women whose work has become integral to the city’s evolving cultural fabric.
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The Museum of Contemporary Art of the Americas (MoCAA) welcomes the recent publication of Cuba: History and Perspectives of an Eschatology (Verbum, Madrid, 2024), a book that makes a substantial contribution to contemporary critical thought on Cuba’s historical, political, and cultural trajectory. The volume is authored by one of the museum’s most committed and longstanding collaborators, whose critical voice has accompanied and enriched numerous curatorial, editorial, and exhibition projects over the years.
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MoCA Americas announces the launch of its own art magazine, a new semiannual publication conceived as an editorial platform where curatorial thought, exhibitions, collection, and institutional collaborations converge. The magazine emerges as a natural extension of the museum’s recent work, offering a structured, critical, and coherent reading of its activities in dialogue with the art of the Americas and its international contexts.
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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...
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The MOCAAméricas Museum had the honor of recently welcoming the visit of Spanish diplomat Fidel Sendagorta Gómez del Campillo, a distinguished figure in the foreign service and former ambassador of Spain to several countries, who was accompanied by his wife, Lidia Figueroa. Their presence at the museum was a warm and meaningful encounter that underscores the historical and cultural ties linking Spain, Cuba, and the artistic community of Miami.
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On November 22, 2025, at 11:30 a.m., another guided visit to Paths of Earth and Wind took place at Vila Cultural Cora Coralina, organized in collaboration with International Idiomas. Conducted entirely in English, the visit welcomed a diverse group of attendees and contributed to the growing engagement surrounding the exhibition, which brings together works from the Museum of Contemporary Art of the Americas (MoCAA)
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The newly released issue of Artepoli (No. 46) features the extensive article “Between São Paulo and Miami: Cuban Art from Both Shores,” a bilingual piece that traces the international curatorial strategy of the Museum of Contemporary Art of the Americas (MoCAA) through its project Cuban Art from Both Shores. Written by Ángel Alonso, the article examines the parallel development of two exhibitions held in 2024: one at the Instituto Cervantes in São Paulo, Brazil, and the other at MoCAA’s headquarters in Kendall, Miami.
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Cuban-American artist Ivonne Ferrer, currently serving as Deputy Director of the Museum of Contemporary Art of the Americas and Director of the Fine Arts Ceramic Center, was formally recognized by the City of Doral, Florida, during the opening of the Doral International Art Fair 2025. The distinction, conferred through an official certificate signed by Mayor Christi Fraga on November 6, 2025, acknowledges her outstanding participation and valuable contribution to the success of the fair. The document highlights Ferrer’s enduring dedication to art, culture, and community engagement—principles that have defined her creative and professional journey for more than three decades.
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On Saturday, November 8, 2025, within the framework of the third edition of the Doral International Art Fair (DIAF), artist Ivonne Ferrer presented the expanded third edition of her monograph Ivonne Ferrer. Recent Works, 2014–2025. The event included a public conversation with the artist and Dr. Carol Damian, Ph.D., distinguished art historian, curator, and specialist in Latin American and Caribbean art. The presentation was sponsored by Ninoska Huerta Gallery, a leading institution in promoting Latin American art and artists across the United States.
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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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