MoCA Américas conducted a studio visit to Il Carico del Tratteggio, the graduation project of artist Monia Meluzzi at the University of Miami, as part of its ongoing engagement with practices emerging within South Florida’s academic environment. The visit offered a direct reading of the work at a critical stage of its exhibition development.
The artist Jeff Larson develops an interdisciplinary practice that brings together photography, printmaking, and ceramics to address pressing contemporary social issues. His recent work reflects a shift from the photographic image toward three-dimensional structures, without abandoning the visual language of photography, but rather integrating it into an expanded system where image and material converge.
The artist Philip Tetteh Djorsu develops a practice that articulates memory, displacement, and belonging through a material investigation grounded in ceramics and installation. Originally from Ghana’s Eastern Region, his engagement with clay began at an early age...
The artist Richard Rodriguez emerges as one of the most consistent voices within contemporary printmaking in South Florida. Currently pursuing an MFA in Printmaking at the University of Miami, his practice is grounded in an ongoing investigation of calligraphy as an expanded language, where text dissolves into gesture and form...
On the morning of Friday, April 17, a small delegation from the Museum of Contemporary Art of the Americas visited the art studios at the University of Miami. Leonardo Rodríguez—founder, Director General, and owner of the Rodríguez Collection—and Ivonne Ferrer—Vice Director of the museum and Director of the Fine Arts Ceramic Center—were received by professor and artist Carlos Enrique Prado.
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 Museum of Contemporary Art of the Americas (MoCAA), in dialogue with the simultaneous presentation at the Oscar Niemeyer Cultural Center in Goiás, Brazil, opens an exceptional platform to revisit Cuban art in exile through the Rodríguez Collection. The decision to unfold the exhibition across two distinct geographies underscores a central thread of the collection: the notion of transit, displacement, and constant reconfiguration. Cuban art beyond its borders has confronted the hardships of uprootedness while also embracing the possibilities of new contexts that have fostered alternative gazes, languages, and affinities. Exile has embodied both rupture and revelation...
Numerous people, including family and friends, attended the opening of the exhibition "Three of a Kind," organized by the Museum of Contemporary Art of the Americas (MoCAA) in Kendall, as part of the Art in the Community program. The exhibition, which took place from July 25 to August 25, 2025, featured artists Julio Figueroa-Beltrán, Helier Batista, and Luis Abreux, and was curated by the Rodriguez Collection team. At the center of this exhibition was a friendship—not a trivial or anecdotal bond, but one that had endured for over two decades among artists who, although not necessarily of the same generation or trajectory, had cultivated aesthetic and personal complicity.
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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