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UMBERTO ALLEMANDI & CO. PUBLISHING EVENTS, POLITICS AND ECONOMICS - SPECIAL EDITION WEDNESDAY 1 DECEMBER 2004

International art fairs

Will ABMB consume its own mother?

Not only is this fair now at the top of the tree in the US, but it may even overtake the original Art Basel
MIAMI BEACH. In an art world London or Paris.” No one questions that ABMB York fair rose from $24 mil- tion Ms de Backer’s sang but rules out a certain top-
distinguished by its rapid Sabrina van der Ley of Art today ranks among the con- lion in 2002 to $43 million in froid: “Clearly, Miami Beach level works and collectors.”
metabolism, the Forum Berlin echoes Ms temporary market’s top fairs, 2004,” she points out. That poses a challenge to the Longer term, Mr Goodrow
ArtBasel/Miami Beach Fair Flay, pointing to both the the other “musts” being said, Ms De Backer hardly Armory, forcing it to refocus suggests ABMB might even
(ABMB) has already had a “massive attack of parties” in Frieze, the Armory and Art seems complacent in face of on younger galleries,” says cut into Art Basel’s business,
marked effect on many fronts. Miami Beach and the fair’s Basel (ABMB has adminis- new competition. She has Ms Flay, “And the Armory no much as art fairs in general
For one thing, it has trans- success at getting private col- tered the coup de grace to Art increasingly positioned the longer benefits from the huge have heavily cannibalised the
formed this hedonist’s par- lectors to open up their Chicago, though the Armory Armory as a venue for young charisma and connections of passing trade in galleries.
adise into one of the art homes and collections. This probably started the artists rather than classic con- Pat Hearn and Colin de “The major art collectors are
scene’s temporary epicentres, innovation was brilliant mar- Midwestern event’s demise). temporary work, and for the Land,” two of the New York still mainly Americans,” he
like Kassel during keting, with the aim of keep- The bigger question is 2005 edition, the Armory show’s four founding dealers, points out, “and for them
Documenta, Venice during the ing the art-world hordes whether or not the Miami responded to longstanding now both deceased. “Miami Miami combines Swiss effi-
Biennale and, of course, Basel occupied, since the city’s nor- Beach event has eclipsed the exhibitors’ complaints about Beach is already the best fair ciency with the added bonus
in Switzerland each June. mal cultural offerings are Armory Show in America. the fair’s cramped quarters, in America,” opines Art of being both an easy trip and
But the impact goes hardly comparable to London The Chelsea fair’s co-direc- reducing the number of gal- Cologne director Gérard a quick vacation, making it
beyond that. From its 2002 during Frieze or New York tor, Katelijne De Backer, leries by 15% and raising the Goodrow. “The Armory is more attractive than going all
launch, ABMB represented a during the Armory Show. plays down ABMB’s effect: largest booth size by 50%. super-sloppy, which works the way to Basel.”
new kind of art fair, notable “The fair is a brilliant if utter- “Estimated sales at the New Other fair directors ques- fine for hip young galleries, Marc Spiegler
for its packed schedule and ly artificial environment,”
the way events spilled over: says one art-world insider.
“There’s a magic when the “Of course, one has to won-
whole city seems to be living der how many years running
to the rhythm of a fair,” con- people will want to see those The local economy
cedes Jennifer Flay, artistic private collections.”
director of FIAC Paris. “That
groovy feeling has certainly
Which brings us to the
next point: ABMB’s position Quality, not quantity, say city fathers
had an impact in terms of in an art market that this
other fairs, although it's hard autumn gave us no less six ArtBasel/Miami Beach brings in less visitors than other conventions
to replicate in New York, serious fairs in Europe alone. but is raising the city’s prestige
Facts MIAMI BEACH. Since it first tive Bob Goodman. “There no way to calculate the Center, says ArtBasel leases
landed in Miami Beach three hasn’t been a need to.” amount of money exhibitors two halls for “about
■ Yesterday, 19 private jets flew in for Art Basel Miami
Beach (the normal daily average is 2 or 3).
years ago, Art Basel has
pumped plenty of cash into
Art Basel does not dis-
close its internal budget.
spend on shipping and insur-
ing art, as well as security,
$200,000”. Add in electrici-
ty, a percentage for food and
the local economy, but no Neither will the company advertising, marketing, beverage, and “the total rev-
■ There are 700 journalists in town form all over one seems to know how reveal the amounts con- printing and other costs. enues to the City of Miami
the world; that is over three for every gallery exhibiting much. “We haven’t quanti- tributed by sponsors UBS, Doug Tober, general man- Beach realised from the
at the fair. fied the impact,” says Art Bulgari, BMW, and others. ager of SMG, the company facility is about $450,000,”
Basel’s Florida representa- Mr Goodman says there is that manages the Convention CONTINUED ON PAGE 2

The agony and the ecstasy

© Jeffery Salter/Art Basel Miami Beach

Yesterday morning at the fair and yesterday evening at The Delano

YOUR NEXT ART SHOW.

BE THERE. HASSLE-F
FREE. ®
2 • THE ART NEWSPAPER
Gossip
Music and Mojitos
at Mac
The subject of Documenta curator Roger
Buergel’s “How do we want to be gov-
erned” at Miami Art Central may be a
serious one, but the show’s Monday
night launch was accompanied by some
serious partying. The mojitos flowed, the
dim sum steamed and a lively crowd
strutted their stuff inside the minimal,
white-tented, “souk chic” party area, in
what was the first full-on social event of
ABMB. “I love the way this fair brings
everyone to Miami” enthused party host
and MAC funder Ella Cisneros, of the
Cisneros Fontanals Art Foundation. “It’s
nice to start the week with a great party
and a great show,” she said. Certainly,
many of the fair’s major players seemed
to be benefiting from the convivial atmo-
sphere: a beaming ABMB director Sam
Keller was very much in evidence and
the entire Rubell family were also out in
force, with Mera Rubell declaring her-
self surprised to be “so completely
relaxed” with the opening of their hugely
expanded collection space one of the
week’s main events. Perhaps Mrs
Cisneros should patent her mojito
recipe...
Miami party planning
Whether it is Ella Cisneros’ baccanale at
MAC on Monday, Rosa De La Cruz’s
bash at her grand home last night, or the
Party on the Plaza at the Miami Art
Museum on Wednesday, the cognoscenti
know that the secret ingredient of many
a Miami party lies with RBK
Productions, party planners extraordi-
naires. Planning for each event starts two
months in advance and RBK are profes-
sionally tight-lipped about the foibles of
their clients, but their representative did
give The Art Newspaper an interesting,
Party planner extraordinaire: Jose
of RBK
THE ART NEWSPAPER
is published by
Umberto Allemandi & Co. Publishing Ltd
THE ART NEWSPAPER
ART BASEL/MIAMI BEACH DAILY
ISSN 0960-6556
In the US: 594 Broadway, Suite 406,
New York, NY 10012
Tel: +1 212 343 0727 Fax: +1 212 965 5367 Art Market Editor: Georgina Adam
email: contact@theartnewspaper.com Correspondents: Marc Spiegler, Jason
Edward Kaufman, Louisa Buck, Adrian
In the UK: 70 South Lambeth Road, Dannatt, Brooke Mason, Mark Clintberg,
London SW8 1RL Carolina Wonder, Jose C. Diaz
Tel: +44 (0)20 7735 3331 Picture editor and editorial coordinator:
Fax: +44 (0)20 7735 3332
American continent subscription enquiries: Production Manager: Eyal Lavi
Tel: +1 888 475 5993 Associate Publisher: Iain Aitken
Rest of the world: Marketing Manager: Patrick Kelly
Tel: +44 (0)1732 884 023 Marketing Officer: Neil Carty
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004
if oblique, insight into working with the
city’s two most formidable grandes
dames: we are told that “Ella [Cisneros]
has very strong ideas about the way she
wants to present things every year”
while “Rosa [de la Cruz] always insists
on “a very elegant event”. They also
reveal that, apart from the week between
Christmas and New Year, ABMB is their
busiest time. And what does RBK stand
for? “Roses by Karla” we are informed.
“Karla has been know for her florals for
years”. At today’s events, however, roses
are not obligatory.
Blair and Beckham
come to Miami
If you encounter two well spoken young
lads attending this years ABMB who
answer to the names of Joe Beckham
and Peter Blair-beware! They are not
whom they seem. Despite attempting to
confirm their identities as respectively-
the cousin of footballer David Beckham
and the nephew of British Prime
Minister Tony Blair by brandishing a
copy of Heat Magazine depicting them
both out in London’s Soho, they are in
fact nothing more than a pair of lowly
artists, hoping to dupe the good folk of
Miami into writing news stories about
them. In any case, their choice of alter
ego seems somewhat strange, since-
sadly-the chances of either the real
Blairs or Beckhams attending a contem-
porary art event are highly unlikely.
The gallant orthodontist
Warming up the Miami locals and the
pre-Basel visitors already in town, My
Adidas Miami opened Monday night at
the Adidas Originals store with festive
results. Curator Nina Arias cleared out
the store's merchandise to install a slick
Photo: Tali Jaffe
and flashy fundraiser for Miami’s newly
established LegalArt, a not-for-profit
organisation dedicated to providing
artists with legal services and education-
EDITION
Quality, not quantity, say city fathers
Group Editorial Director:
Anna Somers Cocks CONTINUED FROM PAGE 1 including 4,000 to 5,000
Editor: Cristina Ruiz
he says. But that’s the tip of
the iceberg.
Art Basel/Miami Beach
this year includes 210 gal-
Helen Stoilas leries, up from 175 last year.
Each brings an average of
five or six people, says Mr
Goodman, so gallery staff
coming to Miami Beach
number approximately
1,500. Then there are the
collectors and art enthusi-
asts—last year there were
30,000 visitors, up slightly
from the initial year—
faces. Unfortunately it was difficult to
spot them as everyone was huddled in
the dark rooms viewing “CUT/Film as
found objects”, imported from
Milwaukee, except for one collector who
made herself conspicuous by wearing a
fibre-optic wrap and flashing illuminated
earrings.
Partying with Rosa
As one arrived down the lengthy, leafy
drive to the De la Cruz house, the first
thing to greet visitors was the sound of
orgasmic groaning coming from the
undergrowth. On closer inspection it
turned out that the sound was synched
up to the rhythmic wavelengths of a
© BMW/Thomas Loewy
Adidas shoes by artist
Christian Curiel
Rosa de la Cruz
al opportunities. For the exhibition, Ms
Arias invited 12 artists to create original large video projection onto a wall of the
art that incorporated the Adidas signature
sneaker. Several hundred gathered to
residence. This was a recent purchase of
a piece by artist Aida Rulova, the wow
enjoy music, drinks and the shoe sculp- of the last Whitney Biennial, not some
tures on display, which were up for prematurely over-excited guests, as a
grabs during the silent auction running few observers had initially concluded.
throughout the evening. Miami
orthodontist and collector Arturo Although the lighting at the De la Cruz
Mosqera arrived late but quickly started party was subtle, it bounced vividly off
bidding and won three shoe sculptures the burnished pates of Manhattan
by artists: Pepe Mar, Cristina Lei Überdealers Perry Rubenstein and Sean
Rodriguez and Odalis Valdivieso. The Kelly. Mr Perry quipped, “We are
last was then granted to a woman who ABMB’s answer to Eva and Adele, the
wanted the Valdivieso shoes more. Mr famous performance artists!”
Mosquera sportingly let her have them at Michael Kimmelman flew in to have
her original bid. lunch with Richard Tuttle and director
Cathy Leff at the Wolfsonian.
Top collector David Teiger was being
The present for much courted by art advisors in the
kitchen of the De la Cruz residence as
collectors who have the party swung on outside in the gar-
dens. Meanwhile Mr Teiger’s longtime
everything female companion was looking particu-
larly nervous at the approaches of the
fabled beauty and art advisor Kim
BMW, official co-sponsors of ABMB, Heirston.
have been looking after a party of hacks
royally and showing them the sights. In Sir Nicholas Serota, director of Tate in
gratitude to Norman and Irma Braman, London, was spotted pacing around on
who must have one of the most astonish- his own in the De la Cruz mansion gaz-
ing collections in the US, for letting the ing at the spectacular display of latest
said hacks range free around it, a BMW acquisitions specially installed for the
chief made a little speech, asking rhetor- event, for which a rather incomprehensi-
ically what one can give someone who ble plan was provided. Upon being
already has everything (“Jewellery”, said asked by The Art Newspaper “Are you
Mrs Bramer dryly), and then presented lost?” he snapped, “I think I can recog-
them with a first edition of the catalogue nise a Polke by myself”.
of the Pop art in the Ludwig Collection,
designed by Wolf Vostell. Rosa de la Within the De la Cruz house you have to
Cruz, for similarly entertaining the ladies
and gentlemen of the press, got a minia-
remove your shoes to go upstairs, lead-
ing to a luxury collection of shoes: here
ture BMW Art Car designed by Jenny was the count at just one point: four
Holzer in a smart red box. pairs of Ferragamo, two Helmut Lang,
four Pradas and two Guccis
Sightings at MoCA Finally... much excitement from Zwirner
Gallery: rising superstar Francis Alÿs has
Donna Karan, Ingrid Sishy of Interview officially agreed to be represented by
magazine and Sandy Brandt were spot- them, while fighting of famously force-
ted at the MoCA opening last night, ful wooing from the silver-haired, silver
probably along with many other famous tongued Larry Gagosian. ■
Bowl of art fairs,” says the city. “The last 20 years
from abroad and out of Stuart Blumberg, head of has seen phenomenal
State, mainly South the Miami Hotel growth in numbers of artists
America and Europe, Association, and it helps and arts organisations, from
including some 60 museum change the perception of 110 cultural groups in 1983
groups. greater Miami Beach. Now to more than 1,100 cultural
Still the numbers pale people look at this area as groups in greater Miami
into insignificance when one where people have area today,” says Miami Art
compared to other conven- some interest in art. And it Museum director Suzanne
tions like the Boat Show— exposes the area to people Delehanty. ABMB is the
“a huge room generator” of wealth and taste who biggest billboard that we
that draws one million peo- might never have come could have taken out inter-
ple in February—and the here. They might as a result nationally. It says: do you
International Auto Show, want to live here or make it want to come to a city that’s
which brings enormous a second home. really hot economically?
crowds in November. Some feel the fair is stim- Miami’s your place.”
Art Basel is “the Super ulating a cultural revival in Jason Edward Kaufman
 T H E A R T
OF BEING EVERYWHERE.

A r t B a s e l M i a m i , D e c e m b e r | T h e A r m o r y S h o w, M a r c h
T E F A F M a a s t r i c h t A r t Fa i r, M a r c h | T h e Ve n i c e B i e n n a l e , J u n e
A r t B a s e l , J u n e | Fr i e z e A r t Fa i r, O c t o b e r

NetJets US 1 877 356 0025 | www.netjets.com © 2004 NetJets Inc. | NetJets is a Berkshire Hathaway company

NetJets Europe +44 (0)20 7590 5120

4 • THE ART NEWSPAPER
t he Rubell
Collection
of its somewhat unorthodox premises
Family
(RFC),
housed in a former con-
traband warehouse of the
US Drug Enforcement
Agency in Miami’s
Wynwood district, is
already renowned as one
of the world’s most
important private collec-
tions of contemporary
art, with over 6,000 works by internation-
ally famous artists. But a major expansion
which opens to the public today, has now
provided the RFC with a home that is wor-
thy of its museum-quality holdings.
In its new incarnation, designed by
Allan T. Shulman architects and completed
in a staggering 12 months (see opposite
page), the exhibition space gains 18 new
galleries and nearly doubles in size to an
awesome 40,000 square feet, which means
that a far greater proportion of works can
be on show at any given time. The collec-
tion’s institutional aura is further
enhanced by the addition of four special-
ly-designed ‘New Media’ rooms for view-
ing film and video installations, a sculp-
ture garden, a state-of-the-art conservation
laboratory and a new research library con-
sisting of over 25,000 volumes.
However, any concerns that this meta-
morphosis into museum status will alter
the highly personal feel of the RFC can be
allayed by the fact that a crucial part of
this redevelopment consists of a private
residence for Don and Mera Rubell, who
have long wanted to live amidst their col-
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004
The Wynwood Art District
Rubells
transform private
collection into
“We’re building a playground for two
major museum
A former contraband warehouse re-opens today
as an extraordinary venue for contemporary art
lection.
adults behind the collection” declares Don
Rubell. “We were suffering from separa-
tion anxiety: we started together in New
York and then we and the collection went
our separate ways. Now we are rejoining
forces, we want to be part of the art.”
The Rubell Collection went South in the
mid-Nineties when Don, a retired gynae-
cologist and the brother of Studio 54
impresario Steve Rubell, and Mera, a for-
mer teacher involved in real estate and a
key figure in the development of New
York’s SoHo, left Manhattan to join their
children, Jason and Jennifer, and to turn
their attentions to the hotel business in
Miami.
“We decided that we wanted to be in busi-
ness together as a whole family, and to try
something totally new for all of us.” As
well as acquiring the Albion, the
Greenview and the Beach House Hotels,
the Rubells also snapped up a former DEA
warehouse which Mera Rubell remembers
being “the same price of a one-bedroom
condo in New York” and this former store
for guns, drugs and counterfeit notes
became the home for a burgeoning art col-
lection that had long since outgrown the
rooms of the Rubell’s Manhattan town-
house.
Don and Mera Rubell may feel bereft at
not living amongst their collection, but
few collectors of their stature have such a
close relationship with the art—and the
artists—that they acquire. Right from the
beginning when they purchased their first
two major pieces, a 1980 ‘Pre New’
‘Hoover Celebrity 111’ from the cold-
water, four-storey walk-up apartment of
the then unknown Jeff Koons and
Francesco Clemente’s 1980 “Self-Portrait
Inside Outside” from the floor of the
artist’s very rudimentary Italian studio, the
experience of meeting artists in their stu-
dios has continued to lie at the core of
their collecting, especially when buying
the work of young artists.
“We’ll do studio visits even when the
artist is represented by a gallery and we
buy from the gallery. With a young artist it
is crucial to know the person that makes
the art. There’s no such thing as a great
young artist, it’s just a good young artist
with enormous promise. You have to deci-
pher that promise and that only comes
from meeting the person.” says Don, who
still clearly recalls visiting Damien Hirst
in the early Nineties. “I remember stand-
ing there and looking into this cabinet of
severed sheep’s heads and it was clear to
Aernout Mik, (Still from)
“Middlemen”,
me that this was the legacy of Francis
Bacon—this ability to investigate the
physicality of death.”
The Rubells describe their collecting as
“bi-modal” declaring, “On the one hand
we collect young art and on the other we
pursue artists that we’ve been collecting
for a while, and continue to collect them
as their career advances.” The collection
therefore spans several generations, from
classic pieces by Andre, Judd and Warhol
to key works by Paul MacCarthy, Robert
Gober, Mike Kelley and Charles Ray—
including his eight-part ‘orgy’ sculpture
‘Oh! Charley, Charley, Charley’(1992).
The RFC’s vast checklist also encompass-
es extensive holdings of work by Keith
Haring, Julian Schnabel,Cindy Sherman,
Juan Munoz and William Kentridge as
well as a wide range of younger artists
such as Jake and Dinos Chapman, Damien
Hirst, Thomas Demand, Cecily Brown,
Chris Ofili, Inka Essenhigh, Takashi
Murakami and Zhang Huan, amongst
many others.
The Rubells are eager that the hang of
their newly-expanded building reflects all
its various strands, and to this end the
inaugural shows at the reopened RFC
include a mini-retrospective devoted to
“Collecting Richard Prince for 27 years”
as well as a substantial 10-year survey of
Dresden-born painter Eberhard Havekost
and an exhibition devoted to young
Leipzig painters who have recently caught
the collectors’ collective eye. “Part of our
policy is that each hanging will showcase
some particularly interesting group of
young artists that may not be so well
known.”
Whether they are scouting for new talent
or consolidating the representation of
artists already in the collection, for the
Rubells, art collecting is strictly a family
affair. Ever since they were bribed with ice
cream to go on museum and gallery visits
as children, Jason and Jennifer Rubell have
been closely involved in their parents’ art
purchases, and Don Rubell describes the
family collecting dynamic as “a four-per-
son partnership: we each bring very indi-
vidual voices but it’s always, at the end of
the day, a consensus.” However it is a con-
sensus based on instinct, impulse and
spontaneity and, when quizzed about the
Rubell Family purchasing budget, the
Rubells reply is cheerfully rueful: “Every
penny we have and then a little bit extra!
We try to restrict ourselves but it lasts
about 15 minutes. Trouble is, art is not like
a car, everything is unique, so when the
opportunity presents itself and you are
offered a wonderful piece, you somehow
just can’t say no...” Louisa Buck
Aernout Mik, 2001(Still from)
“Middlemen”, 2001
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004 THE ART NEWSPAPER • 5

Miami Art Central (MAC)

A foretaste of the
next Documenta?
“How do
we want to
be gov-
erned” has
Charles Ray, “Oh! Charley, Charley, Charley” 1992
the same
curator as
the next
huge art event, in Kassel in Germany.
Our critic found it very cerebral
Launching this week’s events was the
eagerly anticipated Monday night opening
of “How do we want to be governed?”, at
Miami Art Central, the institution founded
and funded by the Venezuelan collector
Ella Cisneros. It is an ambitious mixed
show of international artists curated by
Roger Buergel, the recently-appointed
artistic director of the future Documenta
12, in collaboration with curator and critic al immanence” and he sees this show as a
Ruth Noack. Although known and respect-
ed the German-speaking world, Dr Buergel
has only had moderate recognition in the
US. For many, this exhibition is, therefore, Trouble is, such musings are often better
Rineke Dijkstra “Dubrovnik, Croatia, July 13, 1996” ; Michaël Borremans, the first chance to get a measure of the
“The Conciliation II”, 2002 man, and possibly a taste of what is to
come at the next Documenta, in 2007.
The exhibition is the third of a five-part
series of shows organised by Dr Buergel
“Even by Miami standards and Ms Noack entitled “Die Regierung
(The government)” around the ticklish
topic of “governmentality”, a term used by
this building went up fast” the late French philosopher Michel
Foucault to describe the volatile and often
Allan T. Shulman, the architect behind the lightening speed transformation of the
Rubell Family Collection from a former contraband warehouse into a museum of
contemporary art, only started work on the project a year ago as the last edition of
ArtBasel/Miami Beach was about to open. That he has been able to add 7,000
square feet of exhibition space, a sculpture garden, a conservation laboratory, a
new, expanded library, 18 new galleries, a state-of-the-art storage facility, and a
private residence for Don and Mera Rubell inside the building, all in time for the
opening of this year’s fair, is, he says, because “We moved very quickly.” This may
be true, but crucially, the entire project—the cost of which has not been disclosed—
has been funded by the Rubells, enabling them to bypass the lengthy process of
consensus building and fundraising that derails or delays so many institutional
projects in the city. “Even by Miami standards this building went up fast,” says Mr
Shulman C.R.
Rainer Oldendorf, “Near the rapids called exhibition does indicate is that
‘Schwellen’ (‘Thresholds’), Alt-Rhein, 22 November the 2007 Documenta will not be
1998”, 2000. Above: Sanja Ivekovi, “Personal lacking in either thoughtfulness
problematic relationship between self
direction and direction by others. The exhi-
bition title, which is particularly provoca-
tive in the context of Florida’s recent elec-
toral track record, was a question posed by
Foucault 25 years ago in the face of a
crumbling Eastern Bloc. Now it deals with
what Mr Buergel describes as “the embod-
ied politics of how to live within neo-liber-
“three-dimensional film” in which art, the
spaces between art and the viewers all
interact to form a dynamic whole.
read and pondered on the page than physi-
cally experienced in the gallery. Certain
pieces, such as Martha Rosler’s poignant
and powerful 1988 homage to Julius and
Ethel Rosenberg in the form of a tableau of
photographs, silkscreens on canvas and a
poignant collection of objects, provide a
powerful physical commentary on the
complex conundrums at the core of how
the individual negotiates contemporary
power structures. So does, Sanja
Ivekovi’s video “Personal Cuts”,
where the artist attacks the black
stocking terrorist mask she is
wearing with a pair of scissors.
But such voices tend to get
drowned out in a show whose
parts are more communicative
than its sum.
There is an enormous range of art
here, but how much of it relates
to the exhibition’s central thesis
is unclear; for example, the
intensely intimate, personal pho-
tographs of the late Francesca
Woodman. However what the

Ella Cisneros on her MAC

I had been wanting to found something like MAC for many years, but living in Venezuela,
there are so many urgent social concerns that I was never able to focus specifically on the
arts, which I love. When I saw the Southern Bell Telephone Company building [which now
houses the institution] it all seemed to come together. Our mission at MAC is to bring the
citizens of South Florida the best there is today in contempo-
rary art. We consider ourselves internationalists and believe
in the global environment. But of course I’m from Latin
America so I have a certain interest in representing the art of
that region. If I were to define the programme I’d say that
30% of the museum is devoted to art from Latin America and
the rest is devoted to the exhibition of contemporary interna-
tional art. Through the Cisneros Fontanals Art Foundation
we are promoting and sponsoring artists from Latin America.
My father was a musician, a poet and writer—and during my
childhood the house was always filled with artists. In 1971, I
opened an art gallery, but at that time it was very difficult to
promote art in Venezuela. I started collecting Latin American
masters, and then became interested in Latin American
Geometric Abstraction. Now I collect international contem-
porary and emerging artists. I’m looking for a place to exhib-
it the collection, and I’d like to keep it together permanently
as part of the Foundation.
6 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004

Where to eat
Miami through the artist’s eye—and tastebuds
Sarah Morris makes paintings and movies about the city, but ends up telling us mostly about its food

T
he films and paint-
ings of American
artist Sarah Morris
are mainly about
decoding the built urban
environment. Since the late
90s, she has immersed her-
self in the architecture and
social fabric of some of
America’s major cities and
in 2002 she turned her atten-
tion to Miami, making a
series of sharply prismatic
paintings that took the swim-
the 50s. He came up with
this idea of fantasy; his
architecture is very cinemat-
ic; it’s like James Bond
architecture. So one of the
places I go to in Miami is the
Fontainbleau, which is the
first big hotel Lapidus
designed in 1954 and which
actually was one of the loca-
tions for the Bond movie
“Goldfinger”.
“The other building I love
to go to is the Crystal House,

Sarah Morris and one of her favourite Miami Beach hotels, The Fontainebleau

ming pools of the city’s lux-
ury hotels as their starting
point. At the same time she
also shot a film, “Miami”,
which focuses on the archi-
tecture, the people and the
industries that constitute the
city. In 1998 Sarah Morris
and English artist Liam
Gillick got married on top of
Miami’s Sony building. At
Art Basel Miami Beach she
is showing work with White
Cube, Max Hetzler and
Friedrich Petzel.
“I’d always gone to
Florida because my grandfa-
ther lived there, but I redis-
covered it about six or seven
years ago when I started
becoming interested in the
work of the architect Morris
Lapidus; he’s responsible for
a great deal of hotel design
throughout the world and the
way that Miami looks, par-
ticularly with its hotels of
which is one of Morris
Lapidus’s apartment build-
ings and is just phenomenal.
It’s fantastically maintained
and almost like going into a
Hurricane deprives us of Doig show at Windsor
I n Miami’s insane crowd-
ed social schedule one
may feel a glimmer of
relief at any cancellation, but
for the inner-inner crowd, the
hardcore, VIP power-play-
ers, it can only be Bonjour
Tristesse that the Windsor
exhibition will not open in
time for this year’s fair.
For those still not in the
know, Windsor is an impos-
sibly toney gated holiday
resort in Vero Beach, Florida.
To confuse it with the abode
of the British royal family
time machine: the people
who moved in when it was
built in the 60s still live
there; it reminds me of
‘Rosemary’s Baby’. There’s
also a library that’s interest-
ing and in the lobby there are
some fascinating Lapidus
sketches of the building.
“Some of the most amaz-
ing buildings in Miami,
especially the apartment
buildings, are downtown,
and a great way to see the
architecture of downtown
Miami is to get on the mono-
would not be far off, as the
creators and owners of
Windsor are the Weston fam-
ily of Canada, who are
indeed close friends of The
Queen and her team. The
Westons are bogglingly
wealthy, certainly in the
world top 100, and live large-
ly in London, where their
delicious 32-year-old daugh-
ter Alannah is much involved
in contemporary art.
Thanks to her, Windsor
not only has the usual golf
courses but also its very own
rail. You can just get on it at
any point downtown and it’s
always almost empty
because no one ever actually
takes public transport in
Miami.
“For breakfast in Miami I
like to go to eat at Rascal
house, which is a really
great, classic diner; it’s in
my film and I never noticed
until I shot in there that there
are pictures of these funny
little cartoon pig-like devils
on the walls.
“Then there is La Esquina
art gallery and for the previ-
ous two Art Basel/Miami
Beach fairs there were con-
current exhibitions. The first
featured the Weston’s own
Christo collection and the
second, drawings by Ed
Ruscha. Even better, the
Westons generously ferry
invited guests straight from
the fair to their resort, the
first year in private jets pro-
vided by Netjets whose ceo
was on the trip, the second in
an…um, bus. On this tasty
A-list might figure: Ben
de Tejas which is a famous
Cuban diner where you can
get a proper Cuban break-
fast. I also filmed part of
“Miami” there; it’s very
good and the bacon is
incredible—Reagan ate
there during his 1983 cam-
paign.
“I also like David’s Café.
It does excellent Cuban food
and is a good place to go for
dinner. The other thing I
would tell you about is
slightly underworldish: it’s a
club on Wednesday nights at
Brown and Louisa Guinness,
Clay Rockefeller, Ivor
Braka,
Alexander
Caio Fonseca,
Apsis,
Berggruen brothers, Detmar
the
Blow, Count della
Gherardesca, Dominic
Palfreyman or Countess
Paola Petrobelli. There was
much drinking, table dancing
and dawn crashes of golf
carts, sole means of trans-
portation. There were also
high-society bunk-ups
beyond telling. But this year,
due to horrid hurricanes, the
The Forge in South Beach;
it’s just a bar, but there are
always some fascinating
characters there.
Louisa Buck
■ Fontainebleau Hilton 4441
Collins Avenue, Miami Beach
■ Rascal House 17190 Collins
Avenue, Miami Beach
■ La Esquila de Tejas 101 SW
12th Avenue, Miami
■ David’s Cafe 1654 Meridian
Avenue, Miami Beach
■ The Forge 6432 41st St, Miami
Beach
exhibition has been delayed.
It was to have been a notably
tasty show, Peter Doig draw-
ings selected by London’s
most charmed art consultant
Kadee Robbins, but as
Alannah Weston’s PR arm
puts it: “The Doig show at
Windsor will NOT open in
time to coincide with the
fair—the priority for the
Westons is to help the staff
and members and the local
community get back on its
feet.”
Adrian Dannatt

Miami Art Museum thanks the voters of Miami-Dade County

for approving by a 65 percent majority a community-wide bond program on November 2.
The $2.9 billion bond program, which supports projects of both neighborhood and regional
importance, provides MAM with $100 million for the creation of a new world-class building and sculpture
park. Miami Art Museum will match the county’s investment to establish a significant operating
endowment fund for the museum. Miami Art Museum thanks the City of Miami for designating
a waterfront site at Bicentennial Park in downtown Miami for MAM’s expansion in the years ahead.
The Miami Art Museum is at the very center of one of the world’s most vibrant cities, bringing
international art of the 20th and 21st centuries to life through exhibitions, programs and collecting.

miamiartmuseum.org
BULGARI.COM

A V A I L A B L E E X C L U S I V E LY F O R P R I V A T E V I E W I N G A T S E L E C T E D B U L G A R I S T O R E S W O R L D W I D E
8 • THE ART NEWSPAPER
Countdown to the opening night
The Art Newspaper was allowed to wander among packing cases and frantic dealers
Monday, 29 November, 8am
Seen from above, two days before Art
Basel/Miami Beach (ABMB) begins, the
convention hall seems quite a tidy place.
Except for the occasional flare of painted
canvas peaking through bubble wrap, the
hall is muted, a mix of gray carpet, white
wallboard and the brown plywood of pack-
ing boxes. Long trusses filled with lights
create illuminated columns running north to
south. The 3.5 miles of booth walls create a
gridwork of neat right angles surrounding
neatly stacked crates.
For the last 10 days, the hall has been the
province of the fair’s logistics team, Zurich-
based Nüssli Special Events and the local
union teams with whom it works to erect
ABMB’s infrastructure. For the fair itself,
Nüssli deploys 30 people to coordinate the
installation of booth walls, 180 tons worth,
shipped from Switzerland in 34 containers,
plus all the lights, trusses, curtains and car-
peting that complete the environment.
Nüssli has a three-man team working
year-round, compiling plans detailed down
to the last trash bin in every booth. But even
the Swiss recognise that any event involving
so many different exhibitors, from all over
the globe and displaying often-odd objects
will turn unpredictable. “You can only plan
such shows 90%,” says Nüssli ceo Ivo
Haldner. “The other 10% is where we get a
chance to show our uniqueness.”
Indeed, as gallery workers are finally first
allowed into the hall, surprises abound.
Some discover booth walls they had not
requested, or carpeting they forgot to
decline. A full 20% will request new signage
for their booth. Plasma screens have gone
AWOL and custom paint jobs turn out to
have unexpected hues.
Monday, 29 November, 9.25 am
London dealer Anthony Reynolds circles a
large crate in his booth, eyeing it warily,
then confesses, “I have no idea what’s in
there.” He seems to be wondering whether a
major work has unintentionally managed to
turn up in Miami. It turns out to be
“etcetera,” a conglomeration of tools and a
few minor works.
Gallery employees and art handlers from
all over the globe trickle in, tool cases in
hand and dressed for manual labour. The
hall soon buzzes with an arpeggio of inter-
mittent buzzings, as power drills start to
unscrew the tops of wooden packing boxes.
As paintings, sculptures and photographs
emerge, the booths become less uniform,
colors and themes starting to emerge. As do
problems: lights are positioned incorrectly.
Walls are a twenty crucial centimeters too
long or too short. On the fly, dealers must
decide whether to adapt their plans or make
a final, perhaps futile bid to fix the problem.
Monday, November 29th, 10.35 am
Mexico City dealer Jose Kuri of
Kurimanzutto looks slightly shattered. In
the aisle before his booth stand a host of
huge boxes, almost taller then him, contain-
ing elements of an installation by Polish
artist Monika Sosnowska. He looks at the
$7,000 worth of plywood protection and
laments, “I think they built this too big.”
Then turning to his allotted space, he
sighs,“The booth always look smaller once
you arrive.”
With the lights going full blast and the
crews hitting their stride, the hall starts heat-
ing up. As the day progresses, it will only
intensify. With the giant loading bays still
open, air conditioning the hall is out of the
question. Nonetheless, some dealers are
hard at work, repainting their booths and
plastering.
Monday, 29 November 12.25 pm
The action has started to get serious. While
the early waves of people entering the hall
were composed mostly of art handlers and
gallery directors, the gallery owners have
started to surface as well. Most will come in
casual gear—although Austria’s Thaddeus
Ropac surfaces in his usual bespoke suit,
only to later be upstaged when Berlin and
Leipzig’s Gerd Harry Lybke changes into
his second three-piece suit of the day.
Once their own booths seem under con-
trol, many dealers start stalking around the
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004
Behind the scenes at the Convention Center
floor, checking out the competition and
gauging their current status with particular
artists by ascertaining which of their dealers
got the best work. And many start actually
cutting deals, taking advantage of their priv-
ileged access to build up stock.
Monday, 29 November, 2.35 pm
Entering through the door off Washington
Avenue, you can start seeing something
more resembling an art fair. There’s the
Frank Thiel photo at Krinzinger, for
example and a massive Keith Haring at
Deitch Projects. The aisles of the conven-
tion hall, however, have become almost
impassable. Imagine the debris strewn under
a tree on Christmas morning. Replace all
paper with bubble wrap; replace all paper
boxes with plywood packing crates; quintu-
ple the size of everything, then multiply by
210 galleries.
“When you arrive you want all the crates
in your booth, but by this time you want all
the crates to disappear so you can finish
installing the exterior walls,” observes
David Leiber of Sperone Westwater. Of
course, the crates must be meticulously
withdrawn and stored so they can be
Who’s new at the fair?
Galerie Bob van Orsouw, Zurich;
Booth C12
Artists on show: Philip Akkerman,
Nobuyoshi Araki, Atelier van Lieshout,
Jean-Marc Bustamante, Fabrice Gygi,
Anton Henning, Teresa
Hubbard/Alexander Birchler, Walter
Niedermayr, Julien Opie, Olav
Christopher Jenssen, Richard Serra,
Daido Moriyama, Martin Kippenberger.
Why are you here? It’s a very profes-
sional art fair; the best fair in the US.
The audience is fantastic.—Bob van
Orsouw
Galerie Vera Munro, Hamburg; Booth
F3.
Artists on show: John M Armleder,
Silvia Bächli, Jean-Marc Bustamante,
Helmut Dorner, Gunther Förg, Frank
Gerritz, Teresa Hubbard/Alexander
Birchler, Clay Ketter, Imi Knoebel,
Winston Roeth, Wawrzyniec Tokarski,
Maja Weyermann, Paul Winstanley.
Why are you here?
I’ve been going to Basel, Switzerland for
a long time. I have the feeling (ABMB) is
going to be the most important fair in
the US—I heard from my clients that
they just prefer to come here. ABMB is
very well organised, while the Armouries
in New York is not.—Vera Munro
Gallerie Marwan Hoss, Paris;
Booth H6.
Artists on show: Joan Miró. Pablo
Picasso, Robert Rauschenberg, Pierre
Soulages, Jaime Súnico, Joaquín Torres-
Garcia, Jean-Baptiste Huynh, Wifredo
Lam, Roy Lichtenstein.
Why are you here? I was studying the
first and second (ABMB) to decide what
to show. I’m hearing that this art fair is
as good as Basel (Switzerland), and the
power of American collectors is strong,
so it’s good to see them and meet
them.—Marwan Hoss
La Città, Verona; Booth F1. Artists on
show: Lucio Fontana, Hiroyuki
Masuyama, Haubitz +Zoche, Julia
Mangold, Herbert Hamak, Franco
Passalacqua.
Why are you here?
We would have come the first year, but
when 9/11 happened it was cancelled.
Nolan/Eckman, NY/Galerie Aurel
Scheibler, Cologne; Booth G10.
Artists on show: Richard Artschwager,
Öyvind Fahlström, Carroll Dunham,
William Copley, Jack Pierson, Albert
Oehlen, Christian Holstad, Bridget Riley,
Peter Saul, Joe Zucker, Jim Nutt, Steve
DiBenedetto, Victoria Gitman, Martin
Kippenberger. Why are you here?
retrieved after the fair. Yet accidents still
happen; last year, Haldner discovered works
forgotten in the bottom of several packing
crates.
Monday, 29 November, 4.40 pm
ome booths appear completely finished,
their occupants done for the day, their
entrances walled off with tape to keep out
passersby. In others, uncrated works keep
company with the rented chairs and table
stacked in the middle of the booth.
As a rule, the Germans and Swiss seem to
have an edge in the efficiency sweepstakes.
The exceptions to this Teutonic tenet: Gisela
Capitain, Bärbel Grässlin and Christian
Nagel, whose works have all fallen victim to
a cancelled Lufthansa flight. This morning,
the crates were still in Germany. Now, per-
haps, they are airborne.
The fair floor teems with smaller crises:
dealers wait for unwanted carpeting to be
removed, lights to be re-oriented or a crane
crew to hoist pieces into the towering
airspace above the booth. There’s more lost
here than time: forgetting to tell the fair that
you do not want carpet, for example, will
cost you anywhere from $600 to $1500, plus
It’s the first really professional fair in the
US. I’m confident in ArtBasel as an
organisation.—Aurel Scheibler
Galeria Graça Bandão, Porto; Booth
C6.
Artists on show: Rui Chafes, Stéphane
Dafflon, Albuquerque Mendes, Miguel
Palma, Lygia Pape, Sam Samore, Miguel
Soares, João Tabarra, Pedro Tudela,
Xavier Veilhan.
Why are you here? ABMB is now an
important fair—we are in a peripheral
country in Europe, so we must go to
other countries.—José Mário Bandão
Matthew Marks Gallery, New York;
Booth B13.
Artists on show: Andreas Gursky, Nan
Goldin, Ellsworth Kelly, Roy McMakin,
Terry Winters; Why are you here?
Heard the buzz about last year’s fair and
it sounded good. Shown at Art Basel for
years and always been quite success-
ful.—Adrian Turner
Meyer Riegger Galerie
Karlsruhe/Galerie Giti Nourbakhsch,
Berlin: Booth C19.
Artists on show: John Miller, Jonathan
Monk, Daniel Roth, Gabriel Vormstein,
Helen Mirra, Cathy Wilkes, Uwe
Henneken, Anselm Reyle, Katja Strunz
Why are you here?
We participated in the containers for the
last two years, which is normally for
younger galleries, so we thought it was
time to give some other galleries a
chance to show there. We decided to do
a collaborative booth because we are all
friends, and though we don’t share many
artists, except Uwe Henneken, we share
a similar spirit.—Johann Meyer
C&M Art; New York; Booth H9.
Artists on show: Jean-Michel Basquiat,
Andy Warhol, Jasper Johns, Agnes
Martin, Miguel Barceló, Julian Schnabel,
Arshile Gorky, Robert Indiana; Jennifer
Vorbach
Why are you here?
We came to visit last year and it looked
like a very vital scene and we wanted to
be a part of that if we could.—Jennifer
Vorbach
1301 PE, Los Angeles; Booth C11.
Artists on show: Mike Kelley, Sam
Durant, Jorge Pardo; Brian Butler
Why are you here?
It felt like the right time to do it. This
seemed like one of the most interesting
fairs in the States, and we had a lot of
clients asking us to come.—Brian Butler
Mark Clintberg and Helen Stoilas
labor, depending on the size of your booth.
Asked to pay $600 for the plugging-in of
three standard-order extension cords, one
gallerist waves off the union crew, deciding
to install it himself and risk a fire-marshal
inspection to check up on his handiwork.
Monday, 29 November, 7.25 pm
The disparities between the booths are only
growing. A 15-second walk, away, you can
find Eva Presenhuber’s booth looking
well-sorted, Madrid’s Juana de Aizpuru
digging into its towering pile of crates and
the Nagel/Grässlin booth—still just con-
crete floors and bare walls. Then again, at
least they have a booth. Along the north
wall, where the crates come in through giant
loading bays, the booths can only start being
built once the deliveries cease. A SWAT
team of union painters, drywallers and car-
penters swing into action, stressed, under
the anxious eyes of the dealers dealt this dif-
ficult hand.
Tuesday, 30 November, 10.45 am
The next morning, finishing touches are still
being put on the loading-bay booths.
Refusing to wait any longer, the dealers
have started to hang pieces on walls still
being painted and taped along the seams.
That Lufthansa shipment? Still AWOL.
Now across the Atlantic, it landed in Atlanta,
not Miami, and is en route. By truck. “I feel
awful for Christian Nagel,” says Julie
Burchardi of Arndt & Partner. “When
shipments go missing, you sit there biting
your nails waiting for them to come, and
watching everyone leaving the fair early as
they finish. It just ruins your mood.”
Tuesday, 30 November, 12.05 pm
Two sections in the hall are specifically
designed to bring new impulses into a fair:
the one-person Statements sections and Art
Nova for young galleries. In his usual irasci-
ble style, Nova selection Kenny Schachter
fills bith his booth and the entire aisle in
front of it with a see-through gridwork com-
prised of arcing plastic poles held in place
by giant lug nuts, all of it anchored by a
curvilinear corner desk. Schachter describes
the structure, designed by Vito Acconci as
“a series of concentric igloo-types forms—
the idea is to create a new type of structure
that intervenes in the fair space. But its also
a kind of social engineering because you
have to traverse the entire structure just to
pass by the booth.” The odd assemblage will
no doubt daunt the undaring, he admits:
“Sometimes I subvert myself.” Iconoclasm
aside, this is still an art fair; the desk, poles
and lug nuts will cost you a cool $75,000.
Tuesday, 30 November, 2.25 pm
Collectors have started to pad around the
halls. 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. When fair
director Sam Keller is apprised of the inter-
lopers, his eyes flash angrily. “In Basel, this
has become an issue because galleries want
to be installed properly before seeing collec-
tors, but also because other collectors feel
it’s not fair,” he says. “In Miami, it has been
less of a problem.”
Ironically, while Miami collectors used to
be major culprits in Basel, in Miami the
poachers seem to hail more from Manhattan.
Stronger measures can always be unleashed
next year; in Basel hall access now requires
photo IDs and prestigious gallerists have
been threatened with expulsion for trying to
sneak in collectors as workmen.
Tuesday, 30 November, 4.15 pm
The Lufthansa shipment has arrived, finally.
With only twenty hours left until the doors
open Nagel, Grässlin and Capitan’s teams
launch into action. There are other crises; an
Italian gallerist scurries by pushing a crate,
the bags below his eyes and the stubble
reaching epic proportions. A long night lies
ahead. But by noon Wendesday, the hall will
be immaculate, the faces shaved, the sneak-
ers replaced by stilettos and the art poised to
fly off toward the four corners of the globe.
Marc Spiegler
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • WEDNESDAY 1 DECEMBER 2004
Around Miami
Museum of
Contemporary
Art
770 NE125th Street at NE
8th Avenue ☎ +305 893
6211
www.mocanomi.org
CUT/Film as found object
Until 30 January 2005
A travelling exhibition of
large-scale video projections
by nine contemporary
artists.
John Espinoza
Until 30 January 2005
New works by this Florida-
born artist depicting people
and animals in moments of
epiphany or trace, reflecting
the artist’s experience as a
once-devout Jehova’s
Witness.
Bass Museum
of Art
2121 Park Avenue Miami
Beach ☎ +305 673 7530
www.bassmuseum.org
Paris Moderne
Until 23 January 2005
Art Deco works from the
Musée Moderne de la Ville
de Paris, including more
than 40 paintings and 30
pieces of decorative art.
The Rubell
Family
Collection
95 NW 29th Street,
Wynwood Art District,
Miami ☎ +305 573 6090
Aernout Mik, project
room
Until 6 February 2005
Northern light: Leipzig in
Miami
Until 27 February 2005
Eberhard Havekost, pro-
ject room
Until 27 February 2005
Memorials of identity, new
media from the Rubell
Family Collection
Until 6 March 2005
American dream, collect-
ing Richard Prince for 27
years
Until 27 March 2005
Supersize
Until 31 July 2005
The collection re-opens this
month after extensive reno-
vations; in addition to 14
new galleries and media
rooms, it now hosts a
research library, sculpture
garden, conservation lab
and bookstore. Six exhibi-
tions inaugurate the open-
ing, including a special
installation by Dutch artist
Aernout Mik and a survey
of contemporary German
painting.
Wolfsonian-FIU
770 NE125th Street at NE
8th Avenue ☎ +305 893
6211
www.mocanomi.org
Streets and faces: Jazz
Age Paris, London, Berlin
and New York
Until 20 March 2005
Illustrations by the French
artist Chas Laborde (1886-
1941), which depict life in
Paris during the “roaring
20s”.
Miami Art
Museum
101 West Flager Street
THE ART NEWSPAPER • 11
Miami ☎ +305 375 3000 od in American history, Regionalism or American Palm Beach ☎ 561 832
www.miamiartmuseum.org from the Wall Street stock Scene painting movements. 5196 www.norton.org
Fabian Marcaccio: Miami- market crash of 1929 Continental Drift
Paintant
Until 23 January 2005
through the Great
Depression to WWII, this
Norton Until 2 January 2005
Installations by Joan Jonas,
For his first solo exhibition exhibition includes more Museum of Art Ilya and Emilia Kabakov
in the US, Argentinean artist than 120 canvases from the 1451 S Olive Avenue, West aand others.
Fabian Marcaccio has made
a 100 foot-long, 13 foot-
high, site-specific installa-
tion that incorporates ele-
Today
ments of painting, digital
photography, printmaking Opening night performance: Scissor containers on the beach. The lounge is
and sculpture. Sisters, Collins Park, between. 21st and designed by New York based practice
Light and atmosphere 22nd. Tel: 305 674 1292 LOT/EK Architecture. Collins Park,
Until 30 January 2005 between. 21st and 22nd. Tel: 305 674
Organised around recent Rubell Family Collection. The contem- 1292
acquisitions, this exhibition porary private collection opening after
examines the use of light in extensive renovation. 95 NW 29th Art Bar @ Delano Hotel. The fairs offi-
art. Street, Wynwood Art District. Tel: 305 cial party venue.
573 6090
Miami Art Art Postitions & Art Video Lounge.
Art Lounge @ The Shore Club Hotel.
The venue for the Scissors Sisters after
Central Contemporary art displayed in shipping party.
5960 SW 57 Avenue Miami
☎ +305 455 3333
www.miamiartcentral.org
How do we want to be
governed? Figure and
ground
Until 30 January 2005
Curated by Ruth Noack and
Roger M. Buergel, artistic
director of Documenta 12,
this travelling show brings
together some 20 interna-
tional artists, whose work
explores contemporary poli-
tics.
Lowe Art
Museum
1301 Stanford Drive,
University of Miami, Coral
Gables ☎ +305 284 3535
www.lowemuseum.org
Coming home: American
paintings from the Schoen
Collection, 1930-50
Until 23 January 2005
Focusing on a difficult peri-