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La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
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#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

La generación de finales de los años ochenta presentaba lo “aceptable” desde un vaciamiento interno. Un tanteo inconsciente, algo crítico de la hiperconformidad. Lo decisivo es lo que no aparece: ausencia de progreso y de futuro, ausencia de narración. En un régimen que exige complicidad, el tartamudeo y el mutismo significan subversión.
.
.
.
#artecubano #pintor #artistacubano

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

[NAME] Publications’ exhibition Artista de calidad by Carlos Rodríguez Cárdenas is spotlighted in Rialta — a powerful re-presentation of a show once censored in Havana, presented by [NAME] at Under the Bridge Art Space in Miami.

We would like to thank Alfredo Triff for this insightful article and thoughtful contextualization of Cárdenas’ work.

Read the full piece on Rialta.org

Closing reception for Artista de Calidad, featuring censored works by Cuban artist Carlos Rodríguez Cárdenas.

Sunday, January 4, 12–3pm
Under the Bridge Art Space
12425 NE 13th Avenue (ground floor)
North Miami, Florida 33161

The exhibition brings together paintings, drawings, prints, and photographs from the late 1980s—shown publicly for the first time.
—————————————————————————————
Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.
—————————————————————————————
Artista de Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation, and The Jorge M. Pérez Family Foundation at The Miami Foundation.

We’re excited to share that NAME Publications will be represented at INDEX Art Book Fair, presented by EXILE Projects.

On view will be The Odyssey of Byron Booth as Told to William Cordova, one of the books published by NAME, alongside a curated selection of artist-led and independent publications from Miami-based publishers.

The fair highlights collaborative, experimental approaches to print and offers a chance to explore recent releases, limited editions, and new projects.

Location
Kurimanzutto
Governor Rafael Rebollar 94, San Miguel Chapultepec, Mexico City

Dates Jan 15th-18th

We’re excited to share that NAME Publications will be represented at INDEX Art Book Fair, presented by EXILE Projects.

On view will be The Odyssey of Byron Booth as Told to William Cordova, one of the books published by NAME, alongside a curated selection of artist-led and independent publications from Miami-based publishers.

The fair highlights collaborative, experimental approaches to print and offers a chance to explore recent releases, limited editions, and new projects.

Location
Kurimanzutto
Governor Rafael Rebollar 94, San Miguel Chapultepec, Mexico City

Dates Jan 15th-18th

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

The Rabkin Foundation asked members of their writing community to share their best reads in 2025.

Here’s what Natalia Zuluaga, a curator and editor in Miami, had to say:

Before starting anything new, I often return to texts I’ve read before, usually finding something I wasn’t prepared to “receive” the first time. That was the case with Greg Tate’s essay, “David Hammons and the Art of Streetwise Transcendentalism” in “Art in the Streets.” Rereading Tate reminded me how masterfully Hammons recalibrated the codes we traffic in and still created work that educated without didacticism — work that stayed beautiful, poetic, and complex. Like many, I sometimes wonder what art or writing is actually for; that text offered the reminder I needed.

I read Tatum Howey’s review, “Risking Fear: Hamad Butt at Whitechapel Gallery” after a friend urged me to see the late artist’s exhibition, “Apprehensions,” on a recent trip to London. Howey’s text is layered and complex, mirroring qualities in Butt’s work and challenging the ideas of hazard and risk that shaped its reception. The work is beautiful, and I hope it invites more writing still.

The last two picks this year were fiction. “Nuestra Parte de la Noche,” Mariana Enriquez’s horror novel about a father and son fleeing an occult order, is so beautifully written and rich in detail that I still return to certain passages just to indulge in the places it took me. And as a guilty pleasure, “The Dark Forest,” the second book in Liu Cixin’s “The Three Body Problem” trilogy. It’s a real shame Liu has zero notion of how to write female characters, because the rest of the science fiction — across the trilogy — is genuinely fun to read.

We are deeply saddened by the passing of Alicia Betancourt, who served as NAME’s Programs Assistant when we first opened our space. Alicia was a joyful force. Her kindness and warmth radiated with her smile.
Sending love to all who knew and loved her.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Thank you to everyone who joined us for the opening of Carlos Rodríguez Cárdenas: Artista de Calidad at Under the Bridge Art Space.

It was an honor to share this historic body of work, much of which is being exhibited for the first time outside of Cuba. This presentation was organized by [NAME] Publications, with a monograph on Rodríguez Cárdenas’s 1980s work coming in Spring 2026.

Exhibition on view through January 4, 2026.

Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen.

Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

[NAME] presents Artista de Calidad, a rare look at the censored works of Cuban artist Carlos Rodríguez Cárdenas.

Opening this Sunday, November 23, 4–6pm

Under the Bridge Art Space:
12425 NE 13th Avenue (ground floor)                        North Miami, Florida 33161

The exhibition brings together paintings, drawings, prints, and photographs from the late 1980s—shown publicly for the first time. On view through January 4, 2026.
—————————————————————————————
Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen. —————————————————————————————
Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

[NAME] presents Artista de Calidad, a rare look at the censored works of Cuban artist Carlos Rodríguez Cárdenas.

Opening this Sunday, November 23, 4–6pm

Under the Bridge Art Space:
12425 NE 13th Avenue (ground floor)                        North Miami, Florida 33161

The exhibition brings together paintings, drawings, prints, and photographs from the late 1980s—shown publicly for the first time. On view through January 4, 2026.
—————————————————————————————
Special thanks to Under the Bridge for its invitation and support, and to Lou Anne Coldny and william cordova for their contributions to making this exhibition happen. —————————————————————————————
Artista De Calidad is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, Teiger Foundation and The Jorge M. Pérez Family Foundation at The Miami Foundation.

Here’s a sneak peek from Dino Felipe’s upcoming album “Erosia”.

To be released soon by [NAME] Publications.

Here’s a sneak peek from Dino Felipe’s upcoming album “Erosia”.

To be released soon by [NAME] Publications.

Here’s a sneak peek from Dino Felipe’s upcoming album “Erosia”.

To be released soon by [NAME] Publications.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Throwing it back to our 2018 collab with Tara Long on POORGRRRL (smoke vinyl) — a zine + limited-edition EP.

⠀
Tara will be premiering “La Esquinita (Little Corner)”, at @locustprojects. The exhibition opens to the public on Saturday, November 15th.
 
 
The record and accompanying publication were made possible through the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners and the Elizabeth Firestone Graham Foundation.

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

Help reverse the decision to cut Miami’s award-winning Cultural Affairs Department and 52% reduction of funding by speaking out. Here are some easy online actions!!!
 
💬 Your voice matters—here’s how to use it.
Arts funding is on the chopping block, and we need to show up—together. Swipe through for quick, easy ways you can take action online: sign petitions, email your reps, share the facts, and amplify artists’ voices.
 
Every message, share, and click counts. Let’s make sure decision-makers hear us loud and clear: the arts are essential.
 
#FundTheArts #ArtsMatter #SpeakUp #BudgetCuts #AdvocateForTheArts

We still have items for sale - a lot must still go. Come by tomorrow Aug 2nd from 1-6pm for our moving Sale. Major discount on art, archive tables, chairs, books and more!!! We’re located at 6572 SW 40th Street, Miami, FL 33155

We still have items for sale - a lot must still go. Come by tomorrow Aug 2nd from 1-6pm for our moving Sale. Major discount on art, archive tables, chairs, books and more!!! We’re located at 6572 SW 40th Street, Miami, FL 33155

We still have items for sale - a lot must still go. Come by tomorrow Aug 2nd from 1-6pm for our moving Sale. Major discount on art, archive tables, chairs, books and more!!! We’re located at 6572 SW 40th Street, Miami, FL 33155

We still have items for sale - a lot must still go. Come by tomorrow Aug 2nd from 1-6pm for our moving Sale. Major discount on art, archive tables, chairs, books and more!!! We’re located at 6572 SW 40th Street, Miami, FL 33155

We still have items for sale - a lot must still go. Come by tomorrow Aug 2nd from 1-6pm for our moving Sale. Major discount on art, archive tables, chairs, books and more!!! We’re located at 6572 SW 40th Street, Miami, FL 33155