Some works in a museum's collection live a permanent life on view. Others rest on file —documented, conserved, awaiting the right moment to return to the wall. On View, On File opens that second life. The exhibition gathers a selection of works from the MoCAA Collection that, for a season, leave the archive to occupy the museum's Mezzanine Gallery, in dialogue with the main exhibition below.
New York. — On April 14, 2026, at 6:00 PM, UN CHIN Art Gallery will open its doors in Upper Manhattan, a new space devoted to contemporary Latin American art arriving in New York with a proposal as modest in square footage as it is ambitious in conceptual reach...
An exhibition that brings together the work of Venezuelan sculptor Jorge Salas and Uruguayan ceramist Mario Marinoni around a shared question. In what way does Latin American constructivism continue to interrogate, today, the very matter that gives it body?
The Centro de Arte Tomás y Valiente (CEART) recently hosted a visit from a delegation of MoCA-Américas, led by Leonardo Rodríguez, Founder and Director General, together with Ivonne Ferrer, Deputy Director of the institution and Director of the Fine Arts Ceramic Center. The delegation was received in Fuenlabrada by Juan Carlos Moya Zafra, who has overseen the CEART since its inauguration in 2005.
MoCA-Américas inaugurates a new phase of collaboration with Pepe Herrera’s screenprinting workshop in Madrid, focused on the production of graphic editions linked to diaspora artists working with the institution, as well as the reproduction of original works held in the museum’s collection and the Rodriguez Collection.
This exhibition considers public art as a field of symbolic production capable of reshaping the relationship between community, territory, and urban experience. Through a photographic record of works created by local artists in South Florida, the project advances a reading of public space not as a passive backdrop, but as an active framework where memory, identity, and artistic practice converge. Far from serving a merely decorative function, the works gathered here demonstrate how public art intervenes in the construction of meaning. shifting the status of urban spaces—from “sites” defined by use to “places” charged with character, history, and significance.
Stain & Relics brought together a body of work developed by Aaron Kent (Cincinnati) over years of material investigation, in which ceramics, printmaking, and hybrid processes intersect without submitting to stable disciplinary boundaries. The exhibition, which opened on April 17, 2026 at MoCAA, was the result of a collaboration between the Fine Arts Ceramic Center and The Annex Gallery. The show included pit-fired vessels, tile work, sculptural pieces, and a core of graphic work.
On Friday, March 27, 2026, as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s work and in the reflections on identity and gender articulated through Ivonne Ferrer’s ceramic selection. Both artists share a common origin and a rigorous studio formation, with trajectories shaped in Havana and linked to the generation of Cuban artists that came into focus in the 1980s.
On Friday, March 13, 2026, the Museum of Contemporary Art of the Americas (MoCAA) opened Women of PAC, an exhibition celebrating the work of Cincinnati-based artist M. Katherine “Kay” Hurley alongside six guest artists from the Pendleton Art Center in Cincinnati. Presented within the museum’s Women in the Arts Program and coinciding with International Women’s Month, the exhibition brought together diverse artistic voices reflecting the vitality, generosity, and creative independence of women working across painting, sculpture, photography, and mixed media.
The Museum of Contemporary Art of the Americas (MOCAA) inaugurated on January 30, 2026, a photography exhibition drawn from the Rodriguez Collection, presented in parallel with the museum’s broader program addressing diversity, representation, and contemporary artistic practice. Conceived as a complementary exhibition, the show offers a focused yet expansive reading of Cuban photography, bringing together works produced both on the island and in exile, and situating them within a broader narrative of continuity, rupture, and transformation.
The Museum of Contemporary Art of the Americas (MOCAA) inaugurated on January 30, 2026, an exhibition dedicated to the work of neurodivergent artists, conceived as part of the museum’s sustained commitment to inclusion, cultural accessibility, and the strengthening of its relationship with the community.This exhibition forms part of MOCAA’s ongoing efforts to expand spaces of participation and visibility for historically underrepresented creators, recognizing neurodiversity as a fundamental dimension of human experience and of contemporary artistic practice.
The Kendall Art Cultural Center (KACC), dedicated the past six years to the preservation and promotion of contemporary art and artists, and to the exchange of art and ideas throughout Miami and South Florida, as well as abroad. Through an energetic calendar of exhibitions, programs, and its collections, KACC provides an international platform for the work of established and emerging artists, advancing public appreciation and understanding of contemporary art.
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The Rodríguez collection is a blueprint of Cuban art and its diaspora. Within the context of the new MoCA-Americas the collection becomes an invaluable visual source for Diaspora identity. It represents a different approach to art history to try to better understand where we come from to better know where we are heading.
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