Dot fiftyone Gallery

08/31/2026

David Rohn’s Peep Series explores visibility, marginalization, and belonging within the contemporary urban landscape. Emerging from his decade-long practice of performative (self)-Portraiture, the project grew from Rohn’s encounters with people experiencing homelessness in Miami. Using his own body as a vehicle for interpretation, Rohn creates life-size photographic self-portraits inspired by individuals he encounters on the streets, which he subsequently wheat-pastes throughout public spaces.

Rather than simply documenting homelessness, Peep Series transforms personal encounters into acts of public intervention. Often depicting male, transgender, and gender-nonconforming figures, Rohn places these bodies in liminal spaces that suggest refuge, vulnerability, or intimacy. By inserting marginalized figures into the everyday cityscape, the project challenges collective invisibility and invites reflection on dignity, exclusion, and the right to occupy public space.

08/08/2026

SAVE THE DATE: David Rohn, Crowded Condition, opens Friday, August 28. Exhibition text by Ross Karlan.

David Rohn is a Miami-based artist whose multidisciplinary practice spans painting, photography, installation, performance, and found-object sculpture.

After studying art, urbanism, and architecture in the U.S. and Paris, Rohn began painting in New York in the early 1980s before moving to Miami in 1992.

His work explores identity, consumer culture, art history, and the tension between the discarded and the sacred. His ongoing (self)-Portraiture series, along with works inspired by Dante’s Inferno and Catholic saints, reflects his sustained dialogue with contemporary life and art history.

Rohn has exhibited widely throughout South Florida and internationally, including in New York, Los Angeles, Paris, and Berlin.

07/17/2026

Graciela Hasper’s work explores geometric abstraction through compositions where formal precision coexists with emotional resonance and a subtle sense of play. Drawing from the legacy of the historical avant-garde and contemporary neo-geometric movements, each work establishes a unique visual relationship through carefully balanced forms that invite both contemplation and sensory engagement.

Color is central to her practice. Through refined chromatic relationships and the interplay of curved and geometric forms, Hasper creates rhythm, depth, and optical movement without relying on expressive gesture. Her work celebrates clarity and visual harmony while remaining connected to the tradition of Latin American geometric abstraction and its expansion into real space.
Beyond the canvas, Hasper’s site-specific installations and public art projects blur the boundaries between painting, architecture, and design. By transforming geometry and color into immersive spatial experiences, her work invites viewers to engage with space in new ways.

Notable site-specific installations include Continuous Motion, International Central Processor, George Bush Intercontinental Airport, Houston (2025); SLS Puerto Madero, Buenos Aires (2019); Rotación, Catalinas Metro Station, Buenos Aires (2019); Faena Forum, Miami Beach (2016); and Notas de Luz, Usina del Arte, Buenos Aires (2016).

Hasper has participated in prestigious residencies, including Fundación Casa Wabi, Mexico (2021); the Rockefeller Foundation’s Bellagio Center Residency, Italy (2005); the Chinati Foundation, Marfa, Texas (2002); Apex Art – Fulbright Grant, New York (2000); Art Omi, New York (1997); and the Fundación Antorchas – Kuitca Grant, Buenos Aires (1991–1993).

07/14/2026

Amadeo Azar, The Distance,
2022

Working across sculpture, drawing, installation, and moving image, Amadeo Azar explores the poetic potential of ordinary materials, weaving together object, space, and perception into a unified conceptual framework. In The Distance(2022), the artist repurposes everyday functional objects—cups, plates, bowls, and vases—as molds to create ceramic forms interwoven with steel cables and tubular structures. Painted with minimalist geometric patterns, these elements echo the exhibition’s visual language while also serving as instruments in The Sea is a Rain of Voices (2022), transforming sculpture into sound. Through the interplay of materials, color, and composition, Azar creates a cohesive body of work in which objects become vessels of memory, connection, and transformation.

Born in Mar del Plata, Argentina, in 1972, Azar lives and works in Buenos Aires. A recipient of the Pollock-Krasner Foundation Grant (2019), he has participated in residencies at The Drawing Center (New York), Est-Nord-Est (Québec), and The Fountainhead (Miami). His work has been exhibited internationally and is included in major collections such as the Phoenix Art Museum, Deutsche Bank Collection (New York), Related Group/Pérez Collection (Miami), and the Museo de Arte Contemporáneo de Rosario, among others. In 2022, he published his first monograph, La Paciencia es un Campo Minado (Patience Is a Minefield).

07/10/2026

Pepe Lopez, The Good Old Days, The Good Old Days, 2017

A set of 11 folding lounge chairs, made of aluminum frames and brightly woven nylon straps, The Past Was Always Betterdraws directly from the bold geometric patterns of Venezuelan Constructivist Alejandro Otero’s Orthogonal collages. The chairs—familiar, vibrant, deceptively cheerful—are transformed into sculptural echoes of a fading ideal.

They evoke the golden era of mid-20th century Venezuela, a time when oil wealth and progressive politics fueled one of Latin America’s most ambitious modernist cultural projects. Museums were built, artists flourished, and design—like democracy—seemed to promise a radiant future. But the country, flush with fortune, chose to sit back. And sit it did—until the moment passed.

Pepe López Reus is a multidisciplinary artist whose work delves into the complexities of identity, memory, and social transformation. Through a blend of sculpture, performance, installation, and photography, López examines pressing societal issues such as consumerism, violence, and the alienation inherent in modern life. Central to his practice is the reimagining of everyday materials—particularly urban remnants like discarded plastics and packaging—which he transforms into powerful, poetic objects that speak to themes of cultural displacement and individual reinvention. Over the years, López has exhibited internationally in renowned venues such as the Havana Biennial, Mercosul Biennial, New Territories at MAD Museum in New York, Albuquerque Museum, Amparo Museum in Mexico, and The Unknown and its Poetics at Kino Saito, 2025. Lines and Stones, Toluca Fine Art, Paris, France; Labor and Materials, 21C Museum, Kansas City, USA; Bearers of Meaning, Cisneros Collection; Broken Idols, Maële Gallery, Paris; La Colonie, Paris; His work has garnered critical acclaim, including the Best Solo Show award from AICA Venezuela and a prestigious UNESCO Aschberg Artist Residency, El Espacio 23 in Miami and Kino Saito in New York.
Photos by Julio Osorio

07/07/2026

Jorge Cabieses, Untitled #17 (The Pallets), 2021. Acrylic on wood pallet and mirror panel, 52 × 42 in. (130 × 107 cm) each.

For this series, Jorge Cabieses cuts into reclaimed shipping pallets and layers acrylic onto their surfaces, transforming everyday support structures into striking geometric compositions. The interplay between the wooden structure and painted lines allows shapes to move rhythmically across the object, blurring the boundaries between painting, sculpture, and architecture

Cabieses’ work is distinctly geometric, yet it challenges the conventions of geometric abstraction. His crisp, precise forms are set against rough, industrial materials, creating a compelling dialogue between refinement and rawness. Rather than pursuing the autonomous visual language that defined much of mid-twentieth-century abstraction, Cabieses grounds his practice in the interplay between the optical and the tactile. It is this tension that distinguishes his work and has earned him widespread recognition throughout Latin America.

Through collage, painting, and sculpture, Cabieses expands the language of abstraction, creating works that resonate far beyond the traditional canon of painting.

07/03/2026

Happy Independence Day!


Dot Fiftyone will be closed tomorrow, July 4th. We will resume regular hours starting Monday, July 6th.



Artwork by Cédola

06/16/2026

06/11/2026

Oscar Abraham Pabón, Future Dresses I, 2022
Chalk pastel on workwear
59 1/10 × 70 9/10 in. (150 × 180 cm)

Oscar Abraham Pabón’s practice explores the intellectual legacy and visual language of modernism, applying its principles to everyday utilitarian objects. By incorporating elements of iconic modernist design into commonplace materials and garments, he transforms functional items into sculptural forms. Through these interventions, Pabón both celebrates and questions the ambitions of modernist aesthetics, revealing how its ideals continue to shape contemporary life.

Oscar Abraham Pabón (b. 1984, Venezuela) graduated as an architect from the National Experimental University of Táchira (UNET) in 2008 and later studied at the Contemporary Art Workshop in Caracas and the prestigious Rijksakademie van beeldende kunsten in Amsterdam. His work has been exhibited at institutions including Museo del Barrio in New York, Museo Amparo in Puebla, the Museum of Contemporary Art (MAC) in Santiago, Chile, and the 14th Cuenca Biennial in Ecuador, among many others. He lives and works in Barcelona, Spain.
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06/08/2026

Bernd Mechler
Monotype Series, 2020
Acrylic on paper
78.7 × 59.1 in. (200 × 150 cm)

Bernd Mechler is renowned for his powerful paintings and monotypes. In his abstract works, he creates a compelling interplay of layered surfaces, varying densities, tonal temperatures, and softened contours through the repetition of gestural brushstrokes. Rather than relying on vivid or eye-catching colors, Mechler’s visual language is defined by the tension between form and emptiness, often emphasizing striking white spaces as active compositional elements. Although his paintings emerge from a process that demands intense concentration in the studio, they retain a sense of spontaneity and playfulness. As the artist explains, “When it comes to painting, lust must come first.”
Bernd Mechler (b. 1958, Mannheim, Germany) studied at the Düsseldorf Art Academy under Dieter Krieg from 1983 to 1991. Throughout his career, he has participated in numerous exhibitions and has received several prestigious grants and awards, including the Villa Romana Prize in Florence, Italy, and fellowships from Schloss Balmoral and the Kunstfonds Foundation in Bonn, Germany.
Mechler has taught at a number of distinguished institutions, including the Düsseldorf Art Academy, the University of Siegen, the Dortmund University of Technology, and the Münster Art Academy. Since 2007, he has served as a lecturer at the Free Academy of Fine Arts (fadbk) in Essen, Germany.
He is also a founding member of the renowned artists’ residency Atelier Hoherweg 271 in Düsseldorf , alongside artists Katharina Grosse, Sohei Hashimoto, Sybille Berke, Anno Frank Leven, Jan Kolata, and Martin Kolbe.
Mechler lives and works in Düsseldorf, Germany. .mechler