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THE ART NEWSPAPER

Art Basel in Miami Beach: 5 December 2018

The tax
man cometh
New laws on states’ sales tax
pose problems for US art dealers

A
recent decision
by the US
Supreme Court
on how states
collect sales tax
could have big
implications for
the art trade. And with collectors
flocking to Florida for Art Basel in
Miami Beach, the new laws could
catch galleries unaware. “I cannot
remember a previous [tax] change
that has created so much anxiety,”
says Andrew Schoelkopf, co-founder
of Menconi + Schoelkopf and
the president of the Art Dealers
Association of America, which
issued a bulletin on best practice
just days before the fair.
Sales tax is usually applied based
on the state in which a buyer takes
ownership; previously, sellers had
to collect or pay sales tax only if
they had a physical presence in a
state. For example, if a collector in
Dallas bought a work by Jeff Koons
from a Miami-based gallery, it could
be shipped to Dallas via a common
there to justify the need to pay
taxes. What could prove most
difficult for dealers is that states
define the nexus differently. For
example, sales in excess of $1m in
Texas require the vendor to pay
state tax, but in Illinois, the figure is
just $100,000. In many cases, the sale
of a single work of art could meet
the threshold.
Of the 45 states that impose a
general sales tax, 39 have enacted
or proposed such rules since June.
Florida, which has yet to announce
one, boasts an average state and
local tax rate lower than many other
art-dense states (the non-profit Tax
Foundation reports an average rate
in 2018 of 6.8%, compared with New
York’s 8.5%), which has contributed
to its robust art-fair industry.
Robert Dimin of the New York-
based Denny Dimin gallery, which is
showing at Nada Miami, consulted
an accountant and a lawyer before
the fair. “Our industry is being
watched with greater diligence,”
he says. “As a young gallery, even a

Alfredo Jaar launches first Faena Festival

carrier—such as US mail, UPS or
FedEx—without the dealer worrying
about Texas local and state sales tax
(although the collector would).
But in June, the Supreme Court
ruled in favour of South Dakota
against the retail giant Wayfair,
forcing sellers to charge sales tax
on out-of-state purchases, thus
shifting the responsibility on to
the dealer. It is also expected that
states will pursue this revenue
more actively.
The need to assess
sales tax is now
dictated by an
“economic nexus”:
small mistake could send us into a
spiral with legal problems.”
As collectors arrive from
states that have new protocols in
place, dealers exhibiting in Miami
may have to consider the rate of
sales tax in the states to which
works will be shipped. Amid the
confusion over state-by-state rules,
the cost of compliance will fall
most heavily on smaller galleries
that “do not have access to tax
experts to [help them
navigate] the new rules”,
Schoelkopf says.
Dimin notes that the
tax hurdles are daunting
The Chilean-born conceptual
artist Alfredo Jaar’s 1987 bill-
board animation A Logo for America
set sail off the coast of Miami Beach
on Monday evening, as part of the
inaugural Faena Festival. It is the first
time the work has been shown in the
US since Donald Trump was elected
president and the artist says it has
Letter from the editors
“acquired a new meaning” in light of entire families at the US-Mexican
the international refugee crisis and the border. It really is a crime,” Jaar says.
US government’s “monstrous” actions “Where’s the protection, the humane
in regard to immigrants. “First they treatment, the guarantee of respect
separated children and babies from for individuals who have become
their parents, causing unbelievable victims of conflicts?”
trauma. As if that wasn’t enough, they Anny Shaw
transferred thousands of these kids • For more on the Faena
to cages. Now, they are tear-gassing Festival, see p2
NEWS
ART PA
E
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if a vendor’s sales for younger galleries.

R

reach a certain “Unlike Gagosian, we

JAAR: © VANESSA RUIZ. KOONS: COURTESY OF EDWARD TYLER NAHEM
AT AR

threshold can’t just drop six or

(which varies seven figures to lawyers Hello again, Miami! This year have filled these pages over the years.
CH

by state), it has and the government marks a milestone for The Art In this issue, and the ones that follow, YE AR S
EA
T

enough of an to right a wrong,” he Newspaper—15 years of our daily are photographs of memorable Miami AS
B

I
B

says. Margaret newspapers at Art Basel in Miami
economic
presence Carrigan Beach. The 2004 edition of the
fair was the first time our monthly
publication turned its attention to
covering an art event live. To com-
memorate this shared history, we
Blue-chip works, like Jeff Koons’s Smooth Egg with Bow (Magenta/Orange) (1994- look back at some of the headlines,
2009), on the stand of Edward Tyler Nahem, could hit a state’s threshold for sales tax trends and salacious gossip that
moments and personalities that still
have resonance; a round-up of some
of the key stories from our first set
of daily papers; commentary on the
pressing issues that we find ourselves
continually revisiting; and flashbacks
to our favourite fair-week frivolities.
We enjoyed delving into our archive to
EL
IN M I A M
bring you the highlights, and we hope
you enjoy this trip down memory lane,
too, together with all the news as it
breaks in Miami.
Helen Stoilas and Emily Sharpe

THEART NEWS PAPER .COM / DOW N LOA D THE F R EE DA ILY A PP / @ THEA RTNEW SPAP ER / @ TH EARTN EWSPAP ER. OFFI CI AL
 2 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018

NEWS In brief
Pace exhibits Christo’s
5 December 2018 Miami wrap drawings
Christo is showing five collages and
drawings with Pace Gallery at Art
Basel in Miami Beach as part of a “new

We are all America: first Faena

partnership” with the gallery. The
works range in price “from mid-six
figures to low seven figures”, a spokes-

Festival aims to unify, not divide

as an apparent apology for displacing
There is continuity thousands of black residents when
across the two the freeway was built.
Adams has suspended the pho-
continents, tograph in the middle of a working
playground on Miami Beach. One
curator says side of the image has been left black
and white, but he has coloured in
woman for Pace says. The works
relate to the 1983 project in which
Christo and his late partner Jeanne-
Claude wrapped 11 man-made islands
in Miami’s Biscayne Bay in pink fabric.
A show on the project is at the Pérez
Art Museum Miami (until 17 February
2019), and another dedicated to
Christo is due to launch in 2020 at
Pace’s new headquarters at West 25th
Street, New York. “I have known Arne
Glimcher [the gallery’s founder] for
more than 50 years,” Christo tells us.

“I
wanted to create a
platform that was
more about unity than
division,” says Zoe
Lukov, the curator of
Miami’s inaugural Faena Festival
(until 9 December), which opened
on Monday. Titled This Is Not
America, the event takes its cue from
the Chilean-born, US-based artist
Alfredo Jaar’s animation A Logo for
America, commissioned in 1987 by
the Public Art Fund for an electronic
billboard in New York’s Times
Square and bought by the Solomon
R. Guggenheim Museum in 2014.
“The ‘not America’ allows us to be
who we are, in all our cacophonous
multiplicities,” Lukov says.
In Miami, Jaar’s piece has been
installed on a boat formerly used to
advertise South Beach’s clubs and
will sail along the shore for eight
Burning down the house: George Sánchez-Caldéron’s commission on the beach
says, in protest against how the
term “America” was “being stolen to
represent a single country”.
Lukov believes that showing it
now is more necessary than ever.
“It was always intended to speak
about the continuity between the
Americas. We are all America. We
and transitional spaces as places of
safe harbour that are representative
of what our ‘America’ is and can
become”, Lukov writes in a publica-
tion on the festival.
America’s Playground (2018) by
Derrick Adams is based on a 1969
photograph found by the artist in the
the other to highlight the “vibrancy “It was a natural connection.” G.H.
and promise” he saw in the picture.
But the artist observes the same
patterns of gentrification in Miami
today. “I have seen a progression of
working-class people being pushed
out to more rural parts of Miami,”
he says. “It is no surprise that older
African-Americans do not vote when
they see such repetition [of history].”
Meanwhile, in a gesture of
“ritual healing”, George Sánchez-
Calderón yesterday set fire to his
copy of a model of the Levittown
house—a low-cost, mass-produced,
single-family home built in the
1940s for a planned community in Christo and Jeanne-Claude in 1981,
Pennsylvania—on the feast day for with drawings for their island piece
Santa Barbara or Changó, one of the
most important festival days in Cuba.
The non-profit organisation Two new art spaces
Faena Art has financially supported
the works’ production, but none will
popping up in Miami
enter the Argentine real-estate devel-
oper Alan Faena’s private collection. New art spaces are springing up in

hours a day. With its majority Latino
population and position as a gateway
between the US and Latin America,
Miami brings new significance to
the work, originally conceived, Jaar
have shared histories of indigenous
genocide, European colonisation and
African enslavement,” she says.
Many of the beachside commis-
sions “seek to imagine these porous
Black Archives at the Lyric Theater in
Miami’s Overtown neighbourhood,
depicting African-American children
in a local playground beneath a
freeway. The park was constructed
The idea, Lukov says, is “to create
something free for the people of
Miami”, a city that has yet to estab-
lish itself on the biennial circuit.
Anny Shaw
SÁNCHEZ-CALDERÓN: © VANESSA RUIZ. CHRISTO: BOB KISS; © CHRISTO, 2018. BERKOWITZ (3D RENDERING): © AZEEZ BAKARE STUDIOS; COURTESY OF RENE GONZALEZ ARCHITECTS
Miami, with the launch this week
of the Atchugarry Art Center in
the Little Haiti district, founded
by the Uruguayan sculptor Pablo
Atchugarry and his son Piero. The new
complex incorporates a non-profit
exhibition space—the Fundación

Art world responds to Cuban artists’ arrest

The art world has come out in
support of the Cuban activist and
artist Tania Bruguera and others
who were arrested in Havana on
Monday ahead of a planned peaceful
protest at the ministry of culture
against Decree 349—a mandate due
to come into effect on 7 December
that many fear will increase the
Cuban government’s censorship
of the arts. “I’m shocked,” says
the dealer Thaddaeus Ropac, who
is showing at Art Basel in Miami
Beach. “Tania always stands out
with her bravery. I have the utmost
respect for her and her beliefs.”
The protest was organised by the
artists Luis Manuel Otero Alcántara
and Yanelys Núñez Leyva, who
are believed to be in Vivac prison,
according to the non-profit Index on
Censorship. The artists Michel Matos
and Amaury Pacheco are also report-
edly still in custody. Bruguera, who
was detained by police and released,
was later rearrested after vowing on
social media that “as long as there
are imprisoned artists, I will be at the
entrance of the ministry of culture.
If they stop me, I will go on a hunger
and thirst strike.”
The Miami-based art collector
Jorge Pérez, who was born in
Argentina to Cuban parents, says
that the situation is disappointing
considering “the incredible renais-
sance of Cuban arts taking place
around the world”. He adds: “I’m
proud of the artists for sacrificing
their own well-being to raise aware-
ness peacefully of these deplorable
practices, and it’s more important
than ever for the global arts commu-
nity to oppose recent efforts to sup-
press and control Cuban creativity.”
Pablo Atchugarry, which opens with a
show of works by the late Uruguayan
artist José Pedro Costigliolo (until 16
February)—as well as a commercial
gallery. Meanwhile, the Berkowitz
The organisers Contemporary Foundation, formerly
of the protest, known as Fairholme Unlimited, is
Luis Manuel moving ahead with plans to launch a
Otero Alcántara 45,000 sq. ft contemporary art space
(left) and on Biscayne Boulevard in 2023. G.H.
Yanelys Núñez
Leyva, were
arrested along
with Tania
Bruguera
Frances Morris, the director of
Tate Modern, where Bruguera is
showing work related to migration,
says that the arrests “are a stark
reminder of the threats that artists
face around the world”. The Berkowitz foundation’s new
Gabriella Angeleti and Gareth Harris home is due to open in 2023

MUZEUM SUSCH
OPEN TO THE PUBLIC FROM JANUARY 2ND 2019
IN THE ENGADIN VALLEY IN THE SWISS ALPS.

THIS INSTITUTION, FOUNDED AND CREATED BY

GRAŻYNA KULCZYK IN A RESTORED ALPINE MONASTERY,
WILL BE A SITE FOR ART, RESEARCH AND DEBATE.

WWW.MUZEUMSUSCH.CH
AEROSOLAR CONVERSATIONS

(T)HERE | ENTANGLING ECOLOGIES, WEAVING THE SOCIAL

How would it feel to breathe in a post-fossil fuel era?
Tuesday December 4 | 3:30pm | Aerocene Exhibition, Oceanfront

SOMEWHERE | COSMIC IMAGINARIES TOWARDS NEW

WITH THE SUPPORT OF CCK BUENOS AIRES. COURTESY THE AEROCENE FOUNDATION AND CCK AGENCY.

INTERPLANETARY POLITICS
How can we rethink and change our relationship with the Universe
AEROCENE TATA INTI PERFORMANCE. AUGUST 7, 2017. SALINAS GRANDES, JUJUY, ARGENTINA.

and response-ability to the Planet Earth?

PHOTOGRAPHY BY DANIEL KIBLISKY, GENTILEZA PRENSA, AND TOMÁS SARACENO, 2017

Thursday December 6 | 5:30pm | Aerocene Exhibition, Oceanfront

ART BASEL CONVERSATIONS, ARTIST TALK | ARTISTS’ INFLUENCERS

Friday December 7 | 10am | Auditorium, West lobby, Miami Beach Convention Center
 4 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018

COMMENT
T NEWS
AR PA
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PE
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The Art
Melanie

AT AR

H
YEARS

AC
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BE
AS I

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Newspaper
IN M I A M

Gerlis
PODCAST

in association with

Will art market

can be made on the stock, bond or to reflect the market around, which
currency markets, rely on sentiment helps pull in sponsors, supporters
rather than fundamentals. Euphoria (often commercial galleries) and

speculation ever
turned chaos as the economic down-
turn began in 2007. The art market
suffered and the cult of speculation
cooled. We reported much slower
trend-conscious visitors.
Speculation itself has taken on
a new form and there is another
in-crowd of collector-dealers revising

go away?
Back in 2004, our intrepid
reporter at Art Basel in
Miami Beach (one Marc
Spiegler, three years before becoming
an Art Basel director) noted a “sharp
financial focus” to the recently-mon-
eyed crowd looking to make a quick
buck from contemporary art. Wilhelm
Sasnal, Tal R and Marcel Dzama were
among the artists generating
excitement and Spiegler quotes
ArtTactic founder Anders Petterson:
“There is a sense of market euphoria,
where everything labelled ‘young art’
seems to be selling, regardless of the
risks attached.” Speculation was the
GERLIS: © DAVID OWENS
intermediaries had previously blocked
off art to all but a small elite. Come
2004, increased wealth, combined
with the twin powers of globalisation
and technology, began to shatter
this clique and art became relatively
accessible to anyone with enough
money. It was almost democratic.
And despite protestations from the
art market’s players that money was
ruining their refined world, they both
contributed and benefited from art’s
increased financialisation.
It was fun, but the party could
not last forever. Again and again, art
has proved that it is not a commodity
buying in Miami in these pages come
2008. Judith H. Dobrzynski quoted
Agnes Gund, the president emerita of
New York’s Museum of Modern Art:
“The froth is gone.”
Certain areas of the market, includ-
ing Indian contemporary art, have
yet to recover and many sought-after
contemporary artists, while still very
much on the radar, have seen their
markets level-off. Sasnal’s prices
peaked at auction in 2008, while Tal
R and Dzama barely feature on the
public market these days.
The mood is different now—buyers
are of a revisionist mindset that seeks
value and validation. But some of the
effects are still here. As an art market
journalist (itself a relatively new phe-
nomenon), I am acutely aware of how
much weight I give to prices which,
the idea of art as an investment.
Guarantees, third-party guarantees,
advance loans on guarantees and
other derivative products swirl around
the market’s top end, making quick
“It was fun, but the
party could not last
forever. Art is not Conversation and debate
a commodity that from inside the art world
Listen and subscribe
can be mapped A new episode debuts every Friday via
and predicted” the usual podcast channels, including
iTunes, TuneIn and SoundCloud. From
money for a few and pushing prices to a desktop or laptop, find the show at
their limits. Collectors now invest in theartnewspaper.com/podcast
galleries—and even in art fairs—shift-
ing the landscape into a business-ori-

order of the day. that can be mapped and predicted. like it or not, are the only common ented, money-making machine. It is theartnewspaper.com
This was not necessarily a bad Liquidity is low and valuation is highly language in a global arena. In the wider a different sort of party, but it is still
thing. An in-crowd of buyers and debatable, so swift gains, such as art world, museum shows now seem a risky one. ␣ 

ART BASEL
MIAMI BEACH MNUCHIN GALLERY
STAND C8 | DEC 6 – 9 www.mnuchingallery.com | contact@mnuchingallery.com | 212-861-0020
Mark Bradford, Amendment #6, 2014, mixed media on canvas, 48 x 60 inches (detail)

ABMB_TAN_Bradford.indd 1 11/21/18 3:18 PM

01172018048_HWZH_241x381_ArtBaselMiami2018_DavidSmith.indd 1 23.11.18 11:50
 6 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
DIARY
5 December 2018
Agony Uncles
The Haas
Brothers
answer our readers’ questions
Simon (left) and Nikolai Haas
What is the difference between
showing with a design gallery and
an art gallery? Is it better to be
represented by one over the other?
NIKOLAI If you make functional
work, a design gallery; if it is
conceptual, an art gallery. We make
both and everything in between,
so we have both.
SIMON This is very tricky, but it boils
down to the relationship you have
with the specific gallerists. Gallerists
can either be car-salesman-y middle
men or incredibly supportive and
thought-provoking business partners.
Go with a gallerist who values you
as a person and whom you trust. If
gallerists don’t listen to their artists,
they are not the right gallerist.
How do you establish value for
your work?
NIKOLAI Our galleries do that for us,
luckily. The value I usually hold in our
art is emotional, not monetary.
SIMON Value is based on many
things. We value our work based
first on keeping a liveable wage for
ourselves and our team of ten, plus
the overheads of our studio, and after
that, the price can increase based on
demand and how the market works.
The bottom line is that you should
not sell at a price lower than what will
make you feel good about releasing
something so personal to you. You
should sell at a price that keeps you,
and anyone who helps you, able to
make work while living comfortably,
and you should not inflate your prices
beyond what the market feels is
acceptable. Do not be a doormat, but
definitely do not be greedy.
CARLOS ALFONZO (1950-91) A Tongue to Utter, 1988, acrylic on canvas, 11 x 16 ft and Ballerinas, 1988, steel and paint, 115 x 45 x 48 in;
95 x 47 x 50 in; 92 x 60 x 47 in. Courtesy of private collection and LnS Gallery. Photo: Nuuris Ortiz.
OVERHEARD AT DESIGN MIAMI
“I think I like art because I don’t
really understand science.”
A visitor at the fair’s VIP preview
Counterfeiter with
an ‘art of gold H
E
ART
NEWS
PA
PE
T
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AT AR
CH
YE AR S
EA
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AS
FROM THE ARCHIVE
B
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IN M I A M
2004: Making yourself scarce
The less time you spend at the fair, the higher your power rating, and the dealer Larry
Gagosian scored highly indeed when he flew into Miami on Tuesday for four hours, checked
out his stand, ate stone crabs and flew out again without anyone realising he’d been
here. Equally elegant is to be a dealer and not bother with an actual stand. Thus Gordon
VeneKlasen discovered that even though he and fellow dealer Michael Werner did not have
a stand this year, everyone was just as appreciative. “I’ve had numerous people, including
regular clients, come up to me and say, ‘We loved the stand this year’ or say that they’re just
about to go and see it. It’s turned out to be the cheapest fair we’ve ever been at.”
Saraceno’s beachside barbecue
The Argentine artist Tomás Saraceno is
wowing the crowds in Miami this week
Arnold Schwarzenegger with his portrait by Arthur J. Williams with his scientific work of art powered
by the Florida sunshine. His Albedo
All sorts of artistic talents end up in Miami, but few have served seven-year project—comprising a cluster of upturned
jail sentences for forging $100 US banknotes. Arthur J. Williams successfully umbrellas on the Miami Beach seafront—
replicated as much as $10m in fabricated bills in the late 1990s. During his is stopping joggers and dog-walkers in
WILLIAMS: COURTESY OF THE SAGAMORE HOTEL. CHICAGO: VICTORIA STAPLEY-BROWN. STONE CRAB: FLORIDA FISH AND WILDLIFE. SARACENO: © STUDIO TOMÁS SARACENO, 2018. HAAS BROTHERS: JOE KRAMM/R & COMPANY
incarceration, he also studied the techniques of Leonardo da Vinci. Recent their tracks. The project, sponsored by
works by the reformed counterfeiter, on display this week at the Setai hotel, Audemars Piguet, harnesses the sun’s
are based on the Civil Liberties Act, which granted reparations to Japanese energy, sending the kite-like Aerocene
Americans forced into US internment camps during the Second World War. Explorer sculpture floating into the daz-
“I hope to serve as an inspiration to others, proving that one can always turn zling Florida sky (although if it’s overcast, artist says. “We’ve been cooking peppers
things around, even when it seems you are at the end of the rope,” says Wil- the object cannot take off ). Saraceno’s and tamales, and handing them out to
liams, who counts Hollywood superstar Arnold Schwarzenegger among his ad-hoc solar panel is also feeding local homeless people. I want to cook food in
fans. The former forger is donating a portion of the proceeds of his sales to an residents. “We’re cooking food provided my studio [using Albedo], but it might be
after-school programme—proof indeed that this ex-rogue has an ‘art of gold. by eco-farmers from the region,” the a bit harder in cloudy Berlin.”
Finger-painter turned feminist
Before Judy Chicago became a pioneering
Artoon by Pablo Helguera
feminist artist with a new solo show at the
Institute of Contemporary Art, Miami, she
was a five-year-old who loved finger-paint-
ing. Her mother enrolled her in classes
for children at the Art Institute of Chicago
(AIC), and she rode the bus by herself from
her home to the museum—a feat that is
“inconceivable now”, she says. “Parents
today won’t let their kids walk a block to
school.” Wandering around the museum
gave her “a consciousness of art history”,
Chicago says. “That’s why it aggravates me
when people assume that feminist art is
only for women, because I learned about
art by studying the male Impressionists
at the AIC. If I could learn from men’s
work, why can’t men learn from women’s
work?” So, where is that finger-painting
that launched Chicago’s career? It found a
fitting home with Elizabeth Sackler, who
founded the feminist art centre at the Judy Chicago at the opening of her
Brooklyn Museum, New York. show at the ICA, Miami
REJOINED IN MODERN CONCERT FOR THE
FIRST TIME IN TWENTY YEARS
Carlos Alfonzo’s A Tongue to Utter and Ballerinas
On view at the Lowe Art Museum through May 2019, courtesy of LnS Gallery
L OWE
2610 SW 28th Lane 1301 Stanford Drive
Miami, FL 33133 Coral Gables, FL 33146
www.lnsgallery.com 305.284.3535
www.lowe.miami.edu
 I B E A C H , USA/
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T H E F U T U R E P E R F E C T/ G A L E PHILIPP J
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DESIGNMIAMI.COM @DESIGNMIAMI
 Peter Alexander
Larry Bell
Mary Corse
Robert Irwin
Craig Kauffman
John McCracken
James Turrell
Doug Wheeler

Lightness
of Being
James Turrell
VARDA (03) 2017, installation view
LED light, etched glass, shallow space
71 × 53”, 180.3 × 134.6 cm
© James Turrell, courtesy Kayne Griffin Corcoran

Miami Beach Convention Center Art Basel Miami Beach

Booth D8 December 6 – 9, 2018

TAN_BaselMiami_112118.indd 1 11/26/18 2:38 PM

 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018 9

FEATURE E
AR
T NEWS
PA

TH

PE
From the archive

R
AT AR

H
Our 15 years (so far)
YE AR S

AC
T

BE
AS I

B
EL
IN M I A M

IN MIAMI BEACH
Long-time visitors to the fair
will recognise the Convention
Center in both incarnations—
old (left) and new

BEHIND THE SCENES

AT THE CONVENTION
CENTRE: COUNTDOWN
TO THE OPENING NIGHT
In a diary-style
feature, Marc

T
he Art Newspaper has pub-
lished daily editions at Art
Basel in Miami Beach for
15 years running—which
would be hard to believe
HISTORIC CONVENTION CENTER: © JOSEPH SOHM. MODERN CONVENTION CENTER: © VANESSA RUIZ, 2018. SPIEGLER: COURTESY OF ART BASEL
Spiegler gave our
readers an insight
into the days
small band of roving reporters, we had a team are not the only ones who have changed and leading up the
of three, including myself, working on the grown. Looking back at the issues from that fair’s opening—and
layout and production of the papers, all from first year is like finding a time capsule or an all the harried
our editor-in-chief’s hotel suite. old family album—you see a lot of familiar construction,
Since then, we have expanded our faces and names, but they might look a bit installation stresses

if I had not worked on
every one. December 2004
marked our introduction to reporting live
from an event of this size and the churn of
producing a daily newspaper. Along with our
The front-page story of our very first Art
Basel in Miami Beach daily edition certainly
pulled no punches. In an article written by
our then market correspondent, now fair
activities to cover art fairs in New York,
London, Basel, Hong Kong and Dubai, and
we have a seasoned squad of editors and
correspondents who deliver breaking news
to our readers, in print and online. But we
director Marc Spiegler, we examined whether
the younger Florida event might cut into the
original Swiss fair’s business. “The major art
collectors are still mainly Americans,” Gérard
different today.
Here is a selection of some of the headlines
from our very first set of Art Basel in Miami
Beach daily papers published back in 2004.
Helen Stoilas
Goodrow, the director of Art Cologne at the
time, pointed out, “and for them, Miami
combines Swiss efficiency with the added
bonus of being both an easy trip and a quick
vacation, making it more attractive than
going all the way to Basel.”
Although the Basel fair noted that it had
“especially robust attendance from Europe
and Asia” at its most recent edition this June,
the mothership remains a major draw for
serious collectors of Modern and contempo-
rary art, especially when the fair coincides
with the Venice Biennale or other major
European exhibitions—and even Miami
buyers like the Rubells can still be spotted
roaming the Messeplatz.  CONTINUED ON PAGE 10
and unexpected
Journalist turned emergencies that
fair director Marc go into it. One
Spiegler gave us example was a
a sneak peek of cancelled Lufthansa
Art Basel flight that was
meant to bring over
the contents of the stands of the dealers
Gisela Capitain, Bärbel Grässlin and
Christian Nagel. “This morning, the crates
were still in Germany. Now, perhaps, they
are airborne,” Spiegler wrote. Another
common problem: collectors trying to
sneak in early, much to the displeasure
of Art Basel’s former director Sam Keller.
“Some wear vaguely workman-style
clothing and try to look busy. Others are
more blatant, ambling around with avid
eyes, bland slacks and designer sneakers
two decades too young for them.”

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

19–22 SEPTEMBER 2019 | CHICAGO | NAVY PIER

Presenting Sponsor
 10 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018

FEATURE
From the archive

 CONTINUED FROM PAGE 9 “I cannot think

Art Basel in Miami of a great city

in the world
Beach rocks without
Remember when the dealer Jeffrey a great
Deitch hosted a free concert on the museum.
beach to kick off the fair each year?
The Art Newspaper’s editors usually only When people

(jealously) heard the faintest strains of music
on the night air while working on the next
day’s issue—but our diary writers always
seemed to have a good time. “Last night, the
Scissor Sisters’ performance involved a stage
show and costumes that would rival anything
dreamed up by Elton John or Leigh Bowery,”
they wrote in 2004. “Drawing on the tradition
of New York’s drag and burlesque communi-
ties, the band has become a favourite of the
art world. The major fashion landmark of the
evening: aged gallerists in sequinned ties. The
band invited audience members to participate
in a sacrifice/heart removal ‘for the sake of
art’. Music glitterati and the uninitiated alike
were treated to a pleasurably ear-blistering PA
system, crystalline light show and saucy dance
manoeuvres. On the whole, queer, vamp, hot
disco.” Those were the days.
say ‘how can
you build a museum
without a collection?’, we have
great collections here and they
need a place to go… if you want to
call Miami home, you should think
about the community. Anything
other than that is selfish.”
The billionaire collector Jorge Pérez on the Miami
Art Museum—which later became the Pérez Art
Museum Miami
VOTERS SAY YES TO MIAMI ART MUSEUM
Before it opened its new $131m Herzog and De
Meuron-designed home on Biscayne Bay and
became Pamm (Pérez Art Museum Miami), the
Miami Art Museum was a much smaller institu-
tion, without a collection, that had long struggled
to get support for an expansion. One major
opponent of the museum’s plans was the influ-
ential collector Martin Margulies, who resorted
to taking out full-page advertisements—at a cost
of around $20,000—in local papers. “Spending
$200m on a museum is folly,” Margulies told us
MUSEUM PARK: SHUTTERSTOCK. SCISSOR SISTERS: © JEFFERY SALTER. RUBELL: SHULMAN + ASSOCIATES. ART POSITIONS IN 2006: JEAN BAPTISTE LACROIX/WIREIMAGE. PÉREZ: NICK GARCIA; COURTESY OF THE RELATED GROUP. DE LA CRUZ: COURTESY OF THE DE LA CRUZ COLLECTION
then. “They have no collection. Why do they need
150,000 sq. ft without a collection, and a sculp-
ture park when they don’t have any sculpture?”
Despite his campaign, on 2 November 2004,
“Miami-Dade County voters approved a $552.7m
bond issue to fund cultural projects that includes
an allocation of $100m towards the construction
of a new $175m MAM building in Bicentennial
Park, an abandoned, city-owned tract on the
shore of Biscayne Bay,” we wrote. Pamm opened
in 2013 in the now renamed Museum Park.

Speculators enter
The Rubell Family Collection is on the move
the scene again
Rubells transform
We closed our first year of reporting on Art
Basel in Miami Beach with an analysis of the

private collection
growing presence of art buyers who acquire
work mainly to turn a profit. “I’ve never

into major museum

The Scissor Sisters: queer, vamp, hot disco in 2004
“A major expansion of its somewhat unortho-
“All they have to do is email me… dox premises, which opens to the public today,
has now provided the Rubell Family Collection
my husband and I believe in with a home worthy of its museum-quality
giving something back to holdings,” we wrote in a feature on the Rubells’
the community.” first expansion in 2004. The former Drug
Enforcement Administration narcotics and
The collector and curator weapons warehouse had been trans-
Rosa de la Cruz on opening formed by the architect Allan Shulman
her home to the public—by into a private art museum with 40,000
appointment—before she sq. ft of exhibition space over 18 galler-
inaugurated a 30,000 ies. But the Rubells’ collection has now
sq. ft museum to house outgrown it and is to move next year to a
her collection in the Design 100,000 sq. ft museum in Miami designed by
District in 2009 the architect Annabelle Selldorf.
seen so many people who are clearly spec-
ulating,” said one Los Angeles-based dealer.
“Whenever the name of one of my artists
starts arousing some buzz, collectors begin
calling me up and demanding anything
available. It doesn’t really matter what the
work itself is.”
Are things much different now?
“Speculation itself has taken on a new
form and there’s another in-crowd of
collector-dealers revising the idea of art as
an investment,” our art market editor-at-
large Melanie Gerlis notes in this issue (p4).
“Collectors now invest in galleries—and
even in art fairs—shifting the landscape
into a business-oriented, money-making
machine.” So, the more things change, the
more they stay the same.
“What a pleasure, after seeing
so much stuff on the wall, to
encounter this thought-provoking
installation… he [even] stripped
out the Art Basel in Miami Beach-
provided air-conditioning to
make the room for the Hispanic
workers genuinely hot and sticky.”
The Magnum photographer Martin Parr on Kader
Attia’s Illegal studio Hallal (2004) in the Positions
sector, which was then held in shipping containers
installed on the beach

Kavi Gupta
presenting select works by
legendary Black artist collective

AFRICOBRA
Kavi Gupta will present important early works by
AFRICOBRA (the African Commune of Bad Relevant
Artists), including founding members Jae Jarrell,
Wadsworth Jarrell, and Gerald Williams, and early
member Sherman Beck. AFRICOBRA was founded
on the South Side of Chicago in 1968 and sought
to resolve concerns about the meaning of “Black
Art.” In conversation with AFRICOBRA, Kavi Gupta
will present a select group of both established and
emerging artists.

Left: Gerald Williams, I am somebody, 1969. Center: Jae Jarrell, Frock You, 1994
Booth A17 Center-right: Birds of Paradise Jacket and Crown, Ode to Dyed Suede, 1993/2017
Right: Wadsworth Jarrell, Study for the Wall of Respect, 1968
Installation view of AFRICOBRA 50 at Kavi Gupta, September 2018
+1 312 432 0708 | info@kavigupta.com | www.kavigupta.com
TAS19_Advertising.indd 191 11/19/18 8:09 PM
 12 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018

IN PICTURES
NEWS
ART PA
E
H

PE
T
A look back at Art Basel in Miami Beach

R
AT AR

CH
YE AR S

EA
T

20
Miami looks good—especially in December, when it is dripping with art, AS

B
I

B
jewels and champagne (not to mention stylish people). Over the past 15 years, EL
IN M I A M

12
our photographers have captured some incredible images during Art Basel in
Miami Beach, from artist-made inflatables on parade to King Kong climbing a
cabinet. Here are some of our favourites from the archive. Enjoy…
06
20

Art Basel in Miami Beach’s opening

party at the Raleigh Hotel

20
FriendsWithYou balloons on parade on South Beach’s shoreline

15
20
16

Lady Bunny hosts an Intergalactic The collector Jorge Pérez gets a

Disco at the opening of Public lift from the rapper Wyclef Jean
05
17
20

20

BALLOONS AND SPIEGLER: © KATHERINE HARDY. RALEIGH AND TASSET: © VANESSA RUIZ. LADY BUNNY: © ART BASEL. PÉREZ: MADISON MCGAW/BFA.COM; © BFA

Marc Spiegler plays football on the beach

Feeling the heat: Tony Tasset’s Fallen

Snowman (2017), on Kavi Gupta’s stand
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018 13

20

20
15

16
The Magnum photographer Martin Parr’s impressions of the fair

20
20

16
13
Fawning over Tony Tasset’s DEER (2015) at Public
13
20

José Carlos Martinat’s Isla

(2009) at Revolver Galería

Yayoi Kusama’s Flowers That Bloom

06

Tomorrow (2010), with Victoria Miro

20
20

Ugo Rondinone’s Miami

Mountain (2016) at the Bass
14
TASSET, RONDINONE AND STUDIO JOB: © VANESSA RUIZ. PARR: © MARTIN PARR/MAGNUM PHOTOS. KUSAMA AND MARTINAT: © DAVID OWENS. FISCHER: © KATHERINE HARDY

Nach jugendstil kam Rocokko (2006) by the

“hot” Swiss artist Urs Fischer at Gavin Brown

King of Design Miami: Studio Job’s Burj Khalifa

(2014) at Carpenters Workshop Gallery
16 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
INTERVIEW
Artist
Larry Bell:
Through the
looking glass
Tracking the artist’s innovative work, from transparent
cubes to sensuous colour installations. By Emily Sharpe
T
Larry Bell in he US artist Larry Bell has
1986. The artist spent the better part of
is a leading light 50 years investigating the
of West Coast properties of light and how
Minimalism it interacts with surfaces,
pushing the boundaries of
sculpture and perception.
“I’ve always considered everything I’ve done
to be experimental,” explains the 78-year-old
artist. Bell, who splits his time between Los
Angeles and Taos, New Mexico, uses industrial
materials and techniques as part of his never-
ending exploration of light, shadows and
reflection. One of the leading artists to emerge
from California’s 1960s art scene, he is known
particularly for his transparent glass cubes.
These works, as well as rarely exhibited,
immersive, room-sized installations are now
Palexpo / 31.01-03.02.2019 / artgeneve.ch
Grimaldi Forum Monaco / 26-28.04.2019 / artmontecarlo.ch
on display at the Institute of Contemporary
Art, Miami. The show is the artist’s first major
survey in four decades. Meanwhile, at Art
Basel in Miami Beach, fair-goers can find his
glass and Plexiglas sculptures and an early
painting at the Hauser and Wirth stand.
THE ART NEWSPAPER: Innovation is a
reoccurring theme in your work, in terms
BELL: COURTESY OF THE ARTIST AND HAUSER AND WIRTH
of your use of materials and techniques,
exploration of light and surfaces and
approach to sculpture. Where does your
interest in innovation come from?
LARRY BELL: My challenge has always been to
make things that I have not seen before out of
materials not used [in the same way] before.
I also want the pieces to be different each
time. I have always tried to use materials I am
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
comfortable with, ones that are versatile and
have a decent shelf life so they can be stock-
piled. I want to be able to be spontaneous and
intuitive, so that the work is not forced. Glass
allows me to do this because it has a shelf life
of millions of years. I also like glass because it
transmits, reflects and absorbs light all at the
same time.
Had you always wanted to be an artist?
When I graduated from high school my
parents told me I could do whatever I
wanted—find a job or go into the military—
TIME MACHINE: PHOTO: FREDRIK NILSEN. UNTITLED: PHOTO: SILVIA ROS
anything but sit around the house and watch
television. I had no particular talent or inter-
ests aside from music; I briefly flirted with the
idea of becoming a troubadour. One thing I
did know was that I did not want to work for
anybody [in the traditional sense]. So I decided
to go to the Chouinard Art Institute [now
CalArts] to become an animator for Disney.
How did you go from wanting to be an
animator to becoming a sculptor?
I found art school tedious aside from painting.
1-4, 2019
CenturyLink Field Event Center
seattleartfair.com
I really liked the fine arts teachers and wanted
to hang out with them, so I switched from
animation to painting. I ended up moving
into sculpture by following the work that I
was making. It was the work that suggested
what I should do next. I did not know that I
was capable of this kind of dedication. I just
followed my work. It is the teacher and it has
always been that way. It is how I live my life.
You went to the Chouinard Art Institute at
an incredible time in terms of the artists
who taught and studied there. How did
your experience influence your career?
Art school was a tremendously influential
time for me. I met people like Ed Ruscha and
Joe Goode. Robert Irwin was the most influ-
ential of my teachers and the most charis-
matic guy I had ever met. He used to hang
out at the bar with artists Ed Moses and Ken
Price and I would often go along. The relation-
ship we had was familial. It was like a tribe
of characters who were all supportive of each
other because of the respect we had for what
each was doing.
Time Machine (2002, above left) is one of a
number of rarely seen works on show. Untitled
(1966) is typical of Bell’s work, which uses glass
to explore light and space
This is your first major museum survey in
four decades. What can visitors expect?
It contains older pieces such as The Cat [1981],
which is a big glass piece, Time Machine and a
wall piece from 1969-70 with black and white
stripes that slices the light like an egg slicer
slices an egg. There are also works resurrected
from my past that I have not seen in years…
some still haunt me.
It also features major immersive
installations, including Black Room
(1970)—a pitch-black room with only a
hint of light on the horizon—that have
not been shown in decades.
Black Room is one of the most dynamic pieces
in the show, but you can hardly see anything
in it and that is the point. When I made it, I
was trying to dilate my pupils at will. I had
met [the scientist] Ed Wortz who worked on
detail: Alchemie 396, 2018, acrylic on canvas, triptych, 78.7 x 236.1 in, 200 x 600 cm
julio le parc
17
“There are works
that I have not seen
in years. Some
still haunt me”
the Apollo moon landing, focusing on the
environment the astronauts had to live in.
He told me about a tribe in South America
who learned to stem the flow of blood from
a wound. So, I thought that if these people
could be so sensitive to how their muscles feel
why can’t I train my eye muscles to dilate. I
tried doing it three or four times a day for six
months and all that happened was that my
pupils dilated faster. I never learned how to
dilate them at will. When Black Room was
shown at the Museum of Modern Art in New
York years ago it was completely trashed;
people played grab ass in the dark and kicked
holes in the wall. It was taken off view and has
not been shown since.
What do you hope visitors take away from
the exhibition?
I hope they have a good sense of humour
about the whole thing, and see the show [as a
reflection] of a particular period in time. These
pieces were experiments. I did not necessarily
think of them as art pieces, but rather projects
I was doing to learn how to do something else.
They are evidence of what I was interested in,
and thinking about, at the time.
How involved are you in the conservation
of your work?
Although I will help anyone who [is tasked
with] fixing my work, I am an artist and my
job is to create, not to conserve. People often
want to interfere with the life of a piece, and
I personally feel that everything on the planet
has the right to its patina. There is this won-
derful blush that happens to my early cubes
when trapped humidity condenses. I think
this should be left alone because how a work
matures is part of its life. If you polish a gold
coin and remove its patina, you cut its value in
half; I feel the same way about my work.
• Larry Bell: Time Machines, Institute of
Contemporary Art, Miami, until 10 March 2019
 Keith Haring’s seminal Silence = Death (1988) was painted the year the artist was diagnosed with AIDS. In the final
year of Haring’s life, his work centered on social activism, and this painting adapts the pink triangle featured in a
1987 poster produced by the Silence=Death collective and popularized by the organization ACT UP. Haring overlaid
the triangle with figures acting out the pictorial maxim “See no evil, Hear no evil, Speak no evil,” alluding to the
Reagan administration’s refusal to acknowledge the AIDS epidemic.

BOOTH E6

NEW YORK LONDON HONG KONG ZÜRICH LEV YGORV Y.COM

KEITH HARING, Silence = Death, 1988. Acrylic on canvas, Each side: 120 inches (304.8 cm) Height: 103 15⁄16 inches (264 cm) © 2018 The Keith Haring Foundation

Art_Newspaper_ABMB_12-SIZE.indd 1 11/27/18 12:11 PM

New York – Chelsea London Hong Kong

Diane Arbus Untitled Gordon Matta-Clark Flavin, Judd,

November 2–December 15 Works 1970–1978 McCracken, Sandback
November 21–December 20 November 15–December 21

Lisa Yuskavage
Babie Brood: Amadeo Lorenzato Marcel Dzama
Small Paintings 1985–2018 January/February January 22–March 9
November 8–December 15

Josef Albers
January 8–February 16

Charles White
January 10–February 16

God Made My Face:

A Collective Portrait
of James Baldwin
Curated by Hilton Als
January 10–February 16

R. Crumb
January 10–February 16

New York – Upper East Side

Lisa Yuskavage
New Paintings
November 8–December 15

James Welling
January 10–February 16

David Zwirner
@miamidesigndistrict

EXPLORE ,

D I S C OV E R ,

INSPIRED.
Miami’s Cultural Landscape
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
CALENDAR
Art Basel in Miami Beach
Welcome to the jungle
FERNGULLY: ZACHARY BALBER; COURTESY OF THE BASS. UMA WORM-AN: PHOTO: JOE KRAMM; © THE HAAS BROTHERS; COURTESY OF THE ARTISTS, R & COMPANY, NEW YORK, AND MARIANNE BOESKY GALLERY, NEW YORK AND ASPEN
The Haas Brothers’ creatures come out
to play in a new solo show at the Bass
The Haas Brothers:
FernGully
5 DECEMBER-21 APRIL 2019
The Bass
A flock of fantastic beasts of
all shapes, sizes and colours
awaits visitors to the Bass
Museum, which is the first
institution to dedicate an
exhibition to the Los Angeles
artists/designers (and twin
brothers) Nikolai and Simon Haas.
“What I love about the beasts is
that they’re diverse, you feel like
they are all different genders,
sexualities and races,” says Silvia
Karman Cubiñá, the museum’s
executive director and chief
curator, who has organised the
show. “And you’re going to
see them in all of their diversity
and glory.”
These beasts are actually
sculptural pieces—part over-sized
objet d’art, part furniture—made
from luxury-level materials like
Icelandic sheepskin, grey Gotland
sheep fleece, carved ebony and
Marta Minujín | DIVERSEartLA | Presented by CCK, Buenos Aries, Argentina
cast bronze. “The work teeters
between art and design in this
wonderful way,” Cubiñá says,
adding that she first encountered
the Haas Brother’s playful pro-
ductions at the nearby fair Design
Miami, as well as at a show at
the Smithsonian’s Cooper Hewitt
museum in New York.
“We are always looking at
where we can take a risk,” Cubiñá
adds, noting that the way the Haas
Brothers’ work straddles different
fields was especially appealing.
“What is the place of craft and
“The work teeters
design and its relationship to between art and
contemporary art? We were very
drawn to that.”
design in this
Along with the brothers’ wonderful way”
creative critters, the show includes
ceramic work made through a
process of accretion, in which
slip is brushed on layer by layer
to create shell-like fronds. “They
almost look like coral,” Cubiñá
says. Another important series
are the Afreaks—heavily beaded
objects that look like they burst
forth fully formed from a child’s
imagination—made in collab-
oration with a group of female
artisans in South Africa. The
brothers collaborated with a more
local group of ladies in Lost Hills,
California for their newest series,
created especially for the Bass
Museum exhibition. This series
of lamps shaped like palm trees,
with woven trunks, copper fronds
and illuminated, beaded date pods
hanging from the branches, are lit
using fibre-optics.
This expanding network
of co-operation has become
an important part of the Haas
21
The Haas Brothers’ work explores
themes of nature, fantasy and
nostalgia. Left, an installation view
of their exhibition Ferngully at the
Bass; above, Uma Worm-an (2018)
Brothers practice, something the
museum compares to the 1992
animated film FernGully, after
which the exhibition is named.
The movie’s fanciful environ-
mentally conscious message—an
army of fairies and animals fights
to save their rainforest home
from destruction—is also carried
through the artists’ creations.
“When they saw the movie,
they were about nine years old,”
Cubiñá says. “So it’s kind of
coming through the eyes of a child
looking at nature, and this sense
of redemption and renewal, which
is so important to their work.”
Helen Stoilas
○
See pages
22-24 for full
exhibition
listings
 22 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018

CALENDAR
Art Basel in Miami Beach

Listings are arranged

alphabetically by
category
○ Non-
commercial
Art and Culture Center
of Hollywood
1650 Harrison Street, Hollywood
• Center to Center
UNTIL 6 JANUARY 2019
ArtCenter/South Florida
924 Lincoln Road, Miami Beach
• Parallels and Peripheries
UNTIL 16 DECEMBER
Windows at Walgreens,
6700 Collins Ave, Miami Beach
• Nayda Collazo-Llorens: Recorded
Instance Plotted Movement
UNTIL 20 JANUARY 2019
• Susan Lee-Chun: 10 X-Large
UNTIL 3 FEBRUARY 2019
Audemars Piguet
Art Commission
Miami Beach Oceanfront,
between 21st and 22nd St
• Tomás Saraceno for
Aerocene: Albedo
5-9 DECEMBER
Bakehouse Art Complex
561 NW 32nd Street, Wynwood, Miami
• Collectivity
UNTIL 30 MARCH 2019
The Bass
2100 Collins Avenue, Miami Beach
• Paola Pivi: Art with a View
UNTIL 10 MARCH 2019
• Aaron Curry: Tune Yer Head
UNTIL 21 APRIL 2019
• The Haas Brothers: Ferngully
5 DECEMBER-21 APRIL 2019
Walgreens Windows,
2300 Collins Ave, Miami Beach
• Odalis Valdivieso: Performing
the Self and Other Selves
UNTIL 1 MARCH 2019
Boca Raton Museum of Art
501 Plaza Real, Boca Raton
• Daniel Faust: Florida
Photos from the 1980s
UNTIL 24 MARCH 2019
HistoryMiami Museum
101 West Flagler Street, Miami
• Miami Street Photography
Festival 2018
6-9 DECEMBER
Institute of Contemporary
Art, Miami
61 NE 41st Street, Miami
• Larry Bell: Time Machines
UNTIL 10 MARCH 2019
• Manuel Solano: I Don’t Wanna
Wait for Our Lives to be Over
UNTIL 14 APRIL 2019
• Judy Chicago: a Reckoning
UNTIL 21 APRIL 2019
Late works by local
self-taught artist Purvis
Young return to Miami
Purvis Young
Rubell Family Collection
UNTIL 29 JUNE 2019
The Rubell Family
Collection is showing more
than 100 mixed-media paintings
by the late, self-taught African
American artist Purvis Young
(1943-2010). The works, made by
the Miami native between
1988 and 1995, were
given to the Rubells
by the estate of
Janet Fleisher, who
was a longtime
supporter of the
artist and the
co-founder of
Philadelphia’s
Fleisher Ollman gallery.
Young grew up poor
in Overtown, which was then
an inner-city neighbourhood
near Miami’s Wynwood. He
began drawing—honing his
skills by reading books and
watching television while in
prison on charges of breaking
and entering. He caught the
attention of Bernard Davis,
the owner of the now-defunct
Miami Museum of Modern
Art, after painting his anti-
Vietnam War mural The
My Page Is Glass The Margulies Collection De Kooning, Eliasson, Judd,
UNTIL 27 JANUARY 2019 at the Warehouse Kiefer, LeWitt, Neto, Noguchi,
• Dialogues: Studio Glass 591 NW 27th Street, Miami Segal, Tony Smith and Franz West
from the Florence and Robert • New Installations: Peter UNTIL 27 APRIL 2019
Werner Collection Buggenhout, Cate Giordano,
UNTIL 27 JANUARY 2019 Imi Knoebel, Sol Lewitt, MDC Museum of Art + Design
• Elsie Kalstone: Ibrahim Mahama, Barry Freedom Tower, Miami Dade College,
Imaginative Things McGee and Kishio Suga 600 Biscayne Boulevard, Miami
UNTIL 19 MAY 2019 UNTIL 27 APRIL 2019 • William Kentridge: More
• Photography: Walker Evans, Sweetly Play the Dance
Mandarin Oriental Hotel Helen Levitt and Albert UNTIL 20 JANUARY 2019
500 Brickell Key Drive, Miami Renger-Patzsch • Superflex: We Are All
• Real Men UNTIL 27 APRIL 2019 In The Same Boat
UNTIL 7 DECEMBER • Permanent Collection: Chamberlain, UNTIL 21 APRIL 2019
Struggle (1973-74), which is now
in the Smithsonian Museum of
American Art in Washington,
DC. His work, often made on
cardboard, wood and fibreboard,
blends painting and drawing
with collage and found objects.
His subject matter typically
includes phantasmagoric images
of angels, pop-culture figures
and animals.
Earlier this year,
Young was included
in an exhibition
in New York at
the Metropolitan
Museum of Art in
New York devoted
to Outsider art from
the Souls Grown
Deep Foundation, a
non-profit organisation that
promotes the work of African
American artists. And his work
will feature in a show timed to
coincide with the 2019 Venice
Biennale, organised by the Dutch
non-profit organisation Global
Art Affairs Foundation.
Gabriella Angeleti
Untitled, painted by Young
(above) some time between
1985 and 1999
The Moore Building
191 NE 40th Street, Miami
• Gagosian and Jeffrey Deitch
Present Pop Minimalism/
Minimalist Pop
5-9 DECEMBER
Museum of Contemporary
Art, North Miami
770 NE 125th Street,
North Miami
• AfriCobra: Messages to
the People
UNTIL 7 APRIL 2019
UNTITLED: COURTESY OF THE RUBELL FAMILY COLLECTION. YOUNG: COURTESY OF MIAMI-DADE PUBLIC LIBRARY SYSTEM. WRITING ON THE WALL: JOSE LIMA; COURTESY OF PATRICIA & PHILLIP FROST ART MUSEUM

• Imagining Florida: History and • William Copley: the Coffin

Myth in the Sunshine State
UNTIL 24 MARCH 2019
They Carry You Off In
UNTIL 12 MAY 2019 Exhibition
• Michael Smith: Excuse Me!?!... I‘m
Looking for the Fountain of Youth JW Marriott Marquis Hotel puts spotlight
on prisoners’
UNTIL 24 MARCH 2019 225 Biscayne Boulevard Way, Miami
• Lobby Installation including

Centro Cultural
Español Miami
1490 Biscayne Boulevard, Miami
• Eugenio Ampudia: the
Immobility of Movement
UNTIL 14
De la Cruz Collection
23 NE 41st Street, Miami
• More/Less
UNTIL 1 NOVEMBER 2019
Faena Art
Faena Forum, 3300 Collins
Ave, Miami Beach
• Faena Festival: This Is Not America
UNTIL 9 DECEMBER
Flagler Museum
1 Whitehall Way, Palm Beach
• Star Power: Edward Steichen’s
Glamour Photography
UNTIL 6 JANUARY 2019
Haitian Heritage Museum
105 4141 NE Second Ave, Miami
• Marc Baptiste: Haiti à la Mode
5 DECEMBER-25 APRIL 2019
private thoughts
Federico Uribe and Alex Katz
UNTIL 9 DECEMBER
Jewish Museum of Florida-FIU
301 Washington Avenue, Miami Beach
• Daniel Chimowitz: Walking Canvases The Writing on the Wall
UNTIL 3 FEBRUARY 2019 Patricia & Phillip Frost Art Museum
• The Art of the Lithograph UNTIL 9 DECEMBER
UNTIL 3 MARCH 2019
The exhibition Writing on the Wall
Locust Projects seems timely considering the
3852 North Miami Ave, Miami US’s dubious distinction as the
• Bethany Collins: the Litany country with the world’s highest
UNTIL 26 JANUARY 2019 incarceration rate. It is especially
• Michael Loveland: In pertinent that it is being staged in
Process [Civic Sculpture] Florida, a state with the third largest The artist Hank Willis Thomas and the academic Baz Dreisinger collaborated on the show
UNTIL 26 JANUARY 2019 prison system in the nation and
Various locations which recently passed an amendment white papers cover the gallery’s walls denied visibility and presence”. As
• Jibade Khalil Huffman: “______________” restoring voting rights to more than a from floor to ceiling, providing a she continues to receive letters from
Means I Love You in Italics million former felons there. visual voice to the inmates’ thoughts prisoners and encourages the growing
UNTIL 16 FEBRUARY 2019 This collaborative installation by on everything from education to discourse on mass incarceration,
Hank Willis Thomas and the academic AIDS. Dreisinger, who collected the Dreisinger remains cautiously
Lowe Art Museum and activist Baz Dreisinger includes material over years while teaching in optimistic about the future: “It is
University of Miami, 1301 Stanford essays, letters, poems and drawings prisons, describes the handwritten possible to dismantle the system... but
Drive, Coral Gables from prisoners across the globe, and typed notes as “modern-day I think it’s going to take some time to
• Yousuf Karsh: American Portraits including Australia, Brazil, Norway, hieroglyphics” and “signs of life, see results.”
UNTIL 20 JANUARY 2019 Uganda and the US. Stark black-and- ultimately of people who are often Winnie Lee
• Giampaolo Seguso:
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
An installation view of Paola Pivi’s show Art With a View at The Bass
NSU Art Museum
Fort Lauderdale
One East Las Olas Boulevard,
Fort Lauderdale
• Remember to React: 60
Years of Collecting
UNTIL 30 JUNE 2019
• William J. Glackens and
Pierre-Auguste Renoir:
Affinities and Distinctions
UNTIL 19 MAY 2019
Patricia & Phillip Frost
Art Museum
Modesto Maidique Campus,
Florida International University,
10975 SW 17th Street, Miami
• The Writing on the Wall
UNTIL 9 DECEMBER
• Relational Undercurrents:
Contemporary Art of the
Caribbean Archipelago
UNTIL 13 JANUARY 2019
Pérez Art Museum Miami
1103 Biscayne Boulevard, Miami
• Felice Grodin: Invasive Species
UNTIL 1 JANUARY 2019
• Christo and Jeanne-Claude:
Surrounded Islands, Biscayne Bay,
Greater Miami, Florida 1980-83
UNTIL 17 FEBRUARY 2019
• Arthur Jafa: Love Is the Message,
the Message Is Death
UNTIL 21 APRIL 2019
• Lynne Golob Gelfman: Grids
UNTIL 21 APRIL 2019
• Ebony G. Patterson: While
the Dew Is Still on the Roses
UNTIL 5 MAY 2019
• Pedro Neves Marques: A Mordida
UNTIL 26 JULY 2019
• Hew Locke: For Those
in Peril on the Sea
UNTIL 1 SEPTEMBER 2019
Today’s talks and events
PIVI: ATTILIO MARANZANO; COURTESY OF THE ARTIST AND THE BASS. FERNÁNDEZ AND REYES: ANA HOP; COURTESY OF DESIGN MIAMI
Carla Fernández and Pedro Reyes appear in the
Practice with Purpose talk at Design Miami today
WEDNESDAY 5 DECEMBER
12.30pm One-on-One: a
Conversation with Designer
and Architect Antonio Citterio
Design Miami/Talks Theatre
 Antonio Citterio and
Dan Rubinstein
3pm Practice with Purpose
Design Miami/Talks Theatre
• Liliana Porter: El hombre con el
Hacha y Otras Situaciones Breves
UNTIL 29 SEPTEMBER 2019
• José Carlos Martinat:
American Echo Chamber
UNTIL 26 JANUARY 2020
Rubell Family Collection
95 NW 29th Street, Miami
• Purvis Young
UNTIL 29 JUNE 2019
• New Acquisitions
UNTIL 29 JUNE 2019
Schmidt Center Gallery,
Florida Atlantic University
777 Glades Road, Boca Raton
• Decolonizing Refinement:
Contemporary Pursuits in the
Art of Edouard Duval-Carrié
UNTIL 2 FEBRUARY 2019
Vero Beach Museum of Art
3001 Riverside Park Drive, Vero Beach
• Made in Germany: Art Since 1980
from the Rubell Family Collection
UNTIL 6 JANUARY 2019
• 150 Years of Painting and Sculpture
from the Permanent Collection
UNTIL 13 JANUARY 2019
The Wolfsonian-Florida
International University
1001 Washington Avenue, Miami Beach
• Wit as Weapon: Satire
and the Great War
UNTIL 13 JANUARY 2019
• Made in Italy: MITA Textile
Design 1926-76
UNTIL 28 APRIL 2019
• Frank Brangwyn: Bringing
the Empire Home
UNTIL 27 MAY 2019
• Enter the Design Age
UNTIL 31 MAY 2019
 Carla Fernández, Pedro
Reyes and Rodman Primack
4.30pm The Architectural
and Design Patronage of
Dominique and John de Menil
Design Miami/Talks Theatre
 Wendy Goodman, Mark
Lee, François de Menil
and William Middleton
23
• The Art of Labour
UNTIL 11 AUGUST 2019
Young at Art Museum
One of the world’s most
751 SW 121st Ave, Davie
• Duane Brant: Sew Organ prominent collections of
UNTIL 6 JANUARY 2019
• Haiiileen: LightScapes, an
postwar and contemporary art
Illuminating Exhibition about Featuring: Jean-Michel Basquiat, Mark Bradford,
the Wonder of Light
Jasper Johns, Jeff Koons, Barbara Kruger,
UNTIL 28 APRIL 2019
Yayoi Kusama, Ed Ruscha and Andy Warhol
YoungArts Campus
2100 Biscayne Boulevard, Miami
• Education as the
Practice of Freedom
UNTIL 9 DECEMBER
Wynwood Walls
Goldman Global Arts Gallery, 2520
NW 2nd Avenue, Wynwood, Miami
March 23–Sept. 1, 2019
Exclusive West Coast Presentation
• Alexandre Farto aka Vhils:
Ethereal
UNTIL 9 DECEMBER
 Commercial
opening october 19, 2019
Alfa Gallery
1627 Brickell Ave, Miami
• Consciousness
UNTIL 17 DECEMBER Free General
• Onyx: Group Exhibition
6 DECEMBER-7 MARCH 2019
Admission
221 S. Grand Ave.
Bill Brady Miami Downtown Los Angeles
90 NW 72nd Street, Miami thebroad.org
• Austyn Weiner: Mid-Explosion
UNTIL 5 JANUARY 2019
David Castillo Gallery
420 Lincoln Road, Miami Beach
• The Strangeness Will Wear Off
UNTIL 31 JANUARY 2019
TBRO-0027_art_basel_ad_FN.indd 1 11/15/18 5:01 PM
Diana Lowenstein Gallery
98 NW 29th Street, Wynwood, Miami
• Lori Cecchini and Dirk Salz
UNTIL 31 DECEMBER
Dot Fiftyone Gallery
7275 NE 4th Ave, Little River, Miami
• Pepe Lopez: Root/Route,
a Personal Cartography
UNTIL 10 FEBRUARY 2019
Durban Segnini
3072 SW 38th Ave, Coconut
Grove, Miami
• Large Format: Painting
& Abstraction
ONGOING
Emerson Dorsch
5900 NW 2nd Avenue,
Little Haiti, Miami
• Paradise Summit Miami
UNTIL 2 FEBRUARY 2019
Fredric Snitzer Gallery
1540 NE Miami Court, Miami
• Alexandre Arrechea:
Uninhabited Order
UNTIL 12 JANUARY 2019
Givenchy
106 NE 39th Street, Miami
• Naomi Fisher
5-9 DECEMBER
Ideobox Artspace
2417 North Miami Ave, April 4–7, 2019
Wynwood, Miami
• Florencio Gelabert: Displacements
7 DECEMBER-31 JANUARY 2019
Opening Preview: April 3
Loewe Foundation Pier 94
110 NE 39th Street, Miami Premier Corporate
• Chance Encounters IV New York City Partner of AIPAD
UNTIL 31 JANUARY 2019
Mindy Solomon Gallery
8397 NE 2nd Ave, Miami
• Ezra Johnson: Floating on Top
UNTIL 12 JANUARY 2019 Tickets & Information: AIPADShow.com
 CONTINUED ON PAGE 24
 24
CALENDAR
Art Basel in Miami Beach
 CONTINUED FROM PAGE 23
Nina Johnson
6315 NW 2nd Ave, Miami
• Judy Chicago: Atmospheres
UNTIL 2 MARCH 2019
• Jim Drain: Zapf DingBats
UNTIL 5 JANUARY 2019
Pan American Art Projects
274 NE 67th Street,
Little River, Miami
• Carolina Sardi: Space as Form
UNTIL 5 JANUARY 2019
Primary Projects
15 NE 39th Street, Miami
• Carlos Betancourt: Process
Ritual Future Eternal
UNTIL 12 JANUARY 2019
Robert Fontaine Gallery
2075 NW 2nd Ave, Miami
• Time and Timeless
UNTIL 15 DECEMBER
Smoke Signals Studio
6300 NW 2nd Ave, Miami
• Damon Davis: Darker Gods
in the Garden of the Low
Hanging Heavens
5-9 DECEMBER
Space Mountain Miami
738 Martin Luther King
Boulevard, Model City, Miami
• Precious Child’s Divinity
7 DECEMBER-18 JANUARY 2019
Stephen P. Clark Center
111 NW 1st Street, Miami
• Art Miami-Dade
UNTIL 15 DECEMBER
THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
THE ART NEWSPAPER
○ Miami
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 26 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 5 DECEMBER 2018
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Dennis Scholl
D
ennis Scholl
and his wife
Debra have
amassed a
wide-ranging
art collection
over 40 years,
by a two-vote rule. “She tempers my
enthusiasm when I go overboard,”
he says. “We tend to buy better
things and less of them because of
her. I’m eternally grateful.”
The Miami-based couple has
acquired more than 2,000 works
since 1978. “We started with prints,
then photo-based work starting in
the 1990s, then conceptual work in
the early 2000s,” Scholl says, adding
that they spent the past decade
building an Aboriginal Australian
art collection, but have now shifted
their focus to post-war and contem-
porary drawings. After several dona-
tions, including to Miami’s Frost
Museum at the Florida International
University (Scholl’s alma mater) and
the Metropolitan Museum in New
York, their private collection now
hovers at around 1,000 objects.
In March, Scholl was named the
chief executive of the ArtCenter/
South Florida. His latest docu-
mentary project, co-directed with
Kareem Tabsch and scheduled to
debut on 21 December, focuses on
Back for 2019
The Year Ahead
The Art Newspaper’s guide to this year’s exhibitions, fairs & biennials worldwide
Subscribe or renew by 10 December to get your copy & save up to 50%
Quote code FAMB121B at subscribe.theartnewspaper.com or visit us at stand 13 in the magazine sector at Art Basel in Miami Beach
two photographers who captured
the disappearing South Beach Jewish
population during the 1970s.
THE ART NEWSPAPER: What was
the first work you bought?
DENNIS SCHOLL: A print of a turkey
in a pan screened on a shopping bag
by Roy Lichtenstein. When I proudly
showed it to my father, he said to
me, “Boy, you’ve lost your mind!”
What is your most recent buy?
A drawing by Ed Clark. He is an
artist whose drawings have as much
energy as his paintings.
What is your preferred way
of buying art?
Through commissioning. We have
commissioned more than 100 works
and are now working on a show of
commissioned drawings by emerg-
ing artists.
What is the most valuable piece
in your collection?
It is probably a photo entitled A Bag
of Air by Tacita Dean, not because of
its monetary value but because it is
Debra’s favourite piece.
If money was no object, what
would be your dream purchase?
In my opinion, money is no
object—it doesn’t define a collec-
tion. The willingness to be intellec-
tually curious and immerse yourself
in a specific part of the art world
allows anyone to be a collector.
Money is vastly overrated.
Which work do you regret
not buying when you had the
chance?
Oh my, there are so many times I
had opportunities to acquire things
early and just didn’t quite under-
stand what the artist was doing at
that moment. But the joy of collect-
ing comes from those moments
when I somehow saw what makes
an artist special, a little bit ahead of
the rest of the art world. Those are
the works I remember.
If your house was on fire, which
work would you save?
Tacita Dean’s A Bag of Air, for the
reason mentioned previously.
Which of all the works in your
collection requires the most
maintenance?
Video art is very labour intensive—
try searching for something to play
an early 1990s LaserDisc. We solved
this problem by donating virtually
all of our video works to the Pérez
Art Museum Miami.
Dennis Scholl and
his wife, Debra
“Look at 10,000
objects before
you acquire
the first one”
What is the most surprising
place you have displayed a work?
The curator Douglas Fogle asked us
to tear out our fireplace so he could
hang a large work there. He said:
“It’s Miami, you don’t need a fire-
place.” So we tore it out!
Which artists, dead or alive,
would you invite to your dream
dinner party?
Clyfford Still, since I am completing
a feature-length documentary about
him and I’ve been listening obses-
sively to 30 hours of audio tape that
he left behind.
What’s the best collecting advice
you can give?
Look at 10,000 objects before you
acquire the first one. It isn’t as hard
as it sounds, given the plethora of
art fairs, online options and auction
previews. Your taste will evolve so
rapidly in the early part of your col-
lecting journey.
Interview by Margaret Carrigan
Rule
of law
Legal tips for
art lovers
New ABMB rules
come into effect
OF SPECIAL INTEREST at Art Basel
in Miami Beach are the new exhibitor
regulations announced by the fair in
2017, which go into effect this week.
Exhibiting dealers must agree not to
accept works known or suspected to
be stolen, fake, or subject to claims,
and must use due diligence to establish
origin and authenticity. Galleries are
requested to adhere to the rules in their
regular business, not just at the fair.
Scott Hodes, who practices art law
in Chicago, explains: “Over the years,
the burden has slowly been shifting
from buyer beware to seller beware.”
Art Basel’s requirements “have stepped
up safety for buyers at the fair.”
Art Basel’s global director Marc
Spiegler says that “the feedback from
galleries and other people we have
been speaking to has been generally
very positive from the start. And where
initially there have been doubts among
some gallerists, when they read the
document they saw it was not the
onerous regulation they feared.”
Even with the regulations, buyers
should consider legal questions such as
ownership history before a purchase.
Hodes says: “I’ve run into many
situations where a buyer doesn’t have
complete provenance records,” but
this doesn’t necessarily mean title is
defective. “Get on the phone to your
lawyer, an auction house,” or research
other sources, he advises.
Another pre-sale question for
buyers: the condition report, which
can help establish a work’s value for
shipping, tax, resale and insurance
purposes.
The New York lawyer John Cahill
advises that “for high-value acquisitions,
buyers should not rely solely on the sell-
er’s condition report,” but should obtain
their own through a conservator. For
works in non-traditional media, buyers
PORTRAIT: COURTESY OF DENNIS SCHOLL
can request a maintenance manual from
the artist, or a promise to conserve or
update the work if it becomes obsolete.
The artist could say no, however. “Some
artists may want their work to become
obsolete,” Cahill says.
Martha Lufkin
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Detroit | DEAN PROJECT Miami Beach | Debra Force Fine Art New York | Diana Lowenstein Gallery Miami | DIE GALERIE Frankfurt | Durban
Segnini Gallery Miami | Eduardo Secci Florence | Emmanuel Fremin Gallery New York City | Erik Thomsen Gallery New York | Espace Meyer
Zafra Paris | Ethan Cohen Gallery New York | FABIEN CASTANIER GALLERY Miami | FREDERIC GOT Paris | Galeria de Arte Ascaso Caracas |
Galeria Freites Caracas | Galería La Cometa Bogotá | Galeria Miquel Alzueta Barcelona | Galería RGR+ART Mexico City | Galerie Barbara von LOCATION
Stechow Frankfurt | Galerie Bhak Seoul | Galerie de Bellefeuille Montreal | Galerie Ernst Hilger Vienna | Galerie Forsblom Helsinki | Galerie
Art Miami + CONTEXT Art Miami Pavilions
Francesco Vangelli De Cresci Paris | Galerie Pascal Lansberg Paris | Galerie Raphael Frankfurt | GALERIE ROTHER WINTER Wiesbaden | Galerie
One Herald Plaza @ NE 14th Street | Miami, FL 33132
Sylvia Kovacek Vienna | Galerie Terminus GmbH Munich | Galerie von Braunbehrens Stuttgart | GALLERIA CA’ D’ORO New York | Gibbons &
Nicholas Dublin | Gilden’s Art Gallery London | Goya Contemporary Baltimore | Grosvenor Gallery London | HELENE BAILLY GALLERY Paris | between the Venetian and MacArthur Causeways on Biscayne Bay
Heller Gallery New York | Helwaser Gallery New York City | HEXTON | modern and contemporary Chicago | Holden Luntz Gallery Palm Beach HOURS
| Hollis Taggart Galleries New York City | HORRACHMOYA Palma | James Goodman Gallery New York | JanKossen Contemporary New York |
Art Miami + CONTEXT Art Miami VIP Previews
Jean Albano Gallery Chicago | Jerald Melberg Gallery Charlotte | Jerome Zodo Gallery London | JONATHAN FERRARA GALLERY New Orleans
| Jonathan Novak Contemporary Art Los Angeles | Keumsan Gallery Seoul | Kuckei + Kuckei Berlin | Landau Contemporary at Galerie
Tuesday, Dec 4 .................................................... 5:30PM – 10PM
Dominion Montreal | Laurent Marthaler Contemporary Zurich | Leeahn Gallery Daegu | LEEHWAIK GALLERY Seoul | Leslie Feely Fine Art New Access for Art Miami, CONTEXT & Aqua Art Miami VIP Cardholders
York | Level London | LICHT FELD Gallery Basel | Liquid art system Capri | Long-Sharp Gallery Indianapolis | Louis K. Meisel Gallery New York & Press as well as Art Basel, Untitled, NADA and Design Miami VIP
| Lyndsey Ingram London | MA2 Gallery Tokyo | Maddox Gallery London | Marina Gisich Gallery Saint Petersburg | Mark Borghi Fine Art New Cardholders
York | MARK HACHEM Paris | Markowicz Fine Art Miami | Masterworks Fine Art Oakland | Maybaum Gallery San Francisco | McCormick Gallery
Chicago | Michael Goedhuis London | Michael Schultz Gallery Berlin | Nancy Hoffman Gallery New York | NanHai Art San Francisco | Nikola Art Miami + CONTEXT Miami Public Hours
Rukaj Gallery Toronto | Olga Korper Gallery Toronto | Omer Tiroche Gallery London | Onishi Gallery New York | OPERA GALLERY Miami | Wednesday, Dec 5 - Saturday, Dec 8...........................11AM – 8PM
Osborne Samuel Gallery London | Pablo Goebel Fine Arts Mexico City | Paik Hae Young Gallery Seoul | Pan American Art Projects Miami | Sunday, Dec 9 ............................................................11AM – 6PM
PLACIDO / SCOGNAMIGLIO Milan | Polka Galerie Paris | Pontone Gallery London | Priveekollektie Contemporary Art | Design Heusden
aan de Maas | PYO Gallery Seoul | RANIVILU ART GALLERY Miami | Richard Levy Gallery Albuquerque | Robert Fontaine Gallery Miami |
Rosenbaum Contemporary Miami | Rosenberg & Co. New York | Rosenfeld Gallery New York | RUDOLF BUDJA GALLERY Miami Beach | Schacky GETTING AROUND
Düsseldorf | Sims Reed Gallery London | Skipwiths London | Sladmore London | Smith-Davidson Gallery Miami | SOUL ART SPACE Busan | VALET PARKING $25 Daily Rate
Sous Les Etoiles Gallery New York | Spanierman Modern New York | SPONDER GALLERY Boca Raton | Sundaram Tagore Gallery New York | TAI Enter NE 14th Street from Bayshore Drive for valet drop-off.
Modern Santa Fe | Tansey Contemporary Denver | taubert contemporary Berlin | Taylor | Graham New York | Tresart Miami | UNIX Gallery (Limited availability.)
New York | Vallarino Fine Art New York | VERTES Zürich | Vertu Fine Art Boca Raton | Vivian Horan Fine Art New York | Waltman Ortega Fine
Art Miami | Wanrooij Gallery Amsterdam | Watanuki Ltd. / Toki-no-Wasuremono Tokyo | Waterhouse & Dodd New York | Wellside Gallery PUBLIC PARKING $20 Daily Rate
Seoul | Wexler Gallery Philadelphia | William Shearburn Gallery St. Louis | William Weston Gallery London | Yares Art New York | Yufuku Omni Garage adjacent to the Fairs | 1645 Biscayne Blvd.
Gallery Tokyo | Zemack Contemporary Art Tel Aviv | Zolla/Lieberman Gallery Chicago
COURTESY SHUTTLE
CONTEXT ART MIAMI PARTICIPATING GALLERIES 3 Punts Galeria Barcelona | 532 Gallery Thomas Daily shuttle service will connect Art Miami+ CONTEXT with the
Jaeckel New York | Able Fine Art NY Gallery New York | Ai Bo Gallery Purchase | Alida Anderson Art Projects Potomac | Analog Contemporary JW Marriott Marquis Miami and the Pérez Art Museum Miami.
Philadelphia | ANNA ZORINA GALLERY New York | ANSORENA Madrid | Art Angels Los Angeles | ART DESIGN GALLERY Guéthary | ArtLabbé
Gallery Coral Gables | Avenue des Arts Los Angeles | Bel Air Fine Art Miami | Bivins Gallery Dallas | Black Book Gallery Denver | BLANK
SPACE New York | Bruce Lurie Gallery Los Angeles | Cantor Fine Art Venice Beach | Cavalier Galleries New York | Chiefs & Spirits The Hague | at the Aqua Hotel | 1530 Collins Ave
CHUNG JARK GALLERY Seoul | Connect Contemporary Atlanta | Contempop Gallery New York | Counterpoint Contemporary Bridgehampton Miami Beach, FL 33139
| Cube Gallery London | Denise Bibro Fine Art New York | Duane Reed Gallery Saint Louis | DURAN | MASHAAL Montreal | Estudio Arte One of the top showcases for emerging art, the boutique fair
Contemporaneo La Habana | ETERNITY GALLERY Miami | FP Contemporary Los Angeles | FREDERIC GOT Paris | Gabriel Wickbold Studio & supports a wide range of young and established galleries with
Gallery Sao Paulo | Galería Alfredo Ginocchio Ciudad de México | Galería Casa Cuadrada Bogotá D.C. | Galeria Contrast Barcelona | GALERIA strong emerging and mid-career artists. www.aquaartmiami.com
LGM Bogotá | GALERIE BENJAMIN ECK Munich | GALERIE ISABELLE LESMEISTER Regensburg | Galerie LeRoyer Montreal | Galerie Matthew
Namour Montreal | Galeries Bartoux Paris | GALLERIA STEFANO FORNI Bologna | Gallery Aurora Yang-san | Gallery G-77 Kyoto | GALLERY Aqua VIP Preview
JUNG Seoul | Gallery Henoch New York | Gallery TABLEAU Seoul | GAMA GALLERY Istanbul | GEMA LLAMAZARES Gijón | Hang Art San Francisco Wednesday, Dec 5 .................................................... 3PM – 10PM
| Hashimoto Contemporary San Francisco | HAVOC Gallery Burlington | HEITSCH GALLERY Munich | Hernandez Art Gallery Milan | Heron
Access for Aqua Art Miami, Art Miami & CONTEXT VIP
Arts San Francisco | HOHMANN Palm Desert | Juan Silió Gallery Santander | K+Y gallery Paris | Kim Foster Gallery New York | Laura Rathe Fine
Cardholders & Press as well as Art Basel, Untitled, NADA and
Art Houston | Lawrence Fine Art Lawrence | Liquid art system Capri | Lucía Mendoza Madrid | MAC Miami Beach | Markowicz Fine Art Miami
| Momentum Gallery Asheville | N2 Galería Barcelona | NIL GALLERY Paris | NINE Gallery Gwangju | Oliver Cole Gallery Miami | Peninsula
Design Miami VIP Cardholders
Fine Art GUANACASTE | Projects Gallery Miami | Rebecca Hossack Art Gallery New York | Rele Gallery Lagos | Retrospect Galleries Byron
Bay, NSW | Rhodes Contemporary London | Ronen Art Gallery Amsterdam | SASHA D espacio de arte Córdoba | Sergott Contemporary Art Aqua Public Hours
Alliance Rancho Santa Fe | Simons Gallery The Hague | Spoke Art New York City | STOA Estepona | TAMBARAN 2 New York | Tauvers Gallery Thursday, Dec 6......................................................... 12PM – 9PM
international Kyiv | ten|Contemporary Nevada City | The Light Gallery Medellin | URGEL | FLECHA Madrid | Vitavie Gallery Toronto | VK Friday, Dec 7 - Saturday, Dec 8 ...................................11AM – 9PM
Gallery Amsterdam | Want Art Gallery New York | Whitewall Contemporary Delray Beach | Woolff Gallery London | Z GALLERY ARTS Vancouver | Sunday, Dec 9 ............................................................11AM – 6PM
ZK Gallery San Francisco
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