In any survey of post-war abstract painting, an inescapable topic of discussion is the grid. Usual examples cite artists such as Agnes Martin and Ad Reinhardt, and the grid as aesthetic style typically bears descriptive qualities like “clinical,” “sterile,” and “objective”—words that have minimalistic sensibilities. However, as Zachary Cahill points out in an introductory text for Grid’s World at Locust Projects in Miami, grids are[…..]

In a time when appropriation has become seamlessly integrated into contemporary art practice, it’s not easy to provide a precise definition for such an increasingly amorphous concept. Jan Verwoert offers a robust description, calling appropriation “an intense sense of an interruption of temporal continuity, a black out of historical time that mortifies culture and turns its tropes into inanimate figures, into a objectified, commodified visual[…..]

Once a month, Miami’s Wynwood art district receives a massive influx of visitors for its Second Saturday Art Walk. Normally vacant lots are used for overpriced parking, and the usually quiet streets become gridlocked with expensive cars and bustling crowds of people. Amidst the monthly chaos, a few galleries tucked away in the neighborhood enjoy the increase in visitors, who take in the art on[…..]