Institute of Contemporary Art, Miami

Institute of Contemporary Art, Miami Miami's home for the most innovative art of our time. Free admission every day.

ICA Miami is dedicated to promoting continuous experimentation in contemporary art, advancing new scholarship, and fostering the exchange of art and ideas throughout the Miami region and internationally. Through an energetic calendar of exhibitions and programs, and its collection, ICA Miami provides an important international platform for the work of local, emerging, and under-recognized artists,

and advances the public appreciation and understanding of the most innovative art of our time. The museum is deeply committed to providing open, public access to artistic excellence by offering year-round free admission.

This , we’re spotlighting Lonnie Holley’s “The Roots Lost at Sea” (2020), on view now as part of “Spirit Matter” in “Fo...
06/19/2026

This , we’re spotlighting Lonnie Holley’s “The Roots Lost at Sea” (2020), on view now as part of “Spirit Matter” in “Four Rooms: Selections from ICA Miami’s Permanent Collection.” The internationally acclaimed visual artist, performer, and musician began sculpting in 1979 after a devastating family loss, carving memorial markers for his nieces from discarded industrial sandstone because he could not afford commercial headstones.

That deeply personal act sparked a five-decade artistic practice centered on reclaiming overlooked materials from his surroundings, one he traces back to a long tradition of Southern Black creators who have found meaning in discarded objects. In “The Roots Lost at Sea,” Holley pieces together a wooden bat box, rope, canvas, sticks, and model-ship sails with raw tree roots. The resulting assemblage acts as a physical conversation telling a story of migration, memory, survival, and resistance.

See this work and more in “Spirit Matter,” curated by Donna Honarpisheh, Associate Curator, Art and Research Center at ICA Miami, on view through October 4.

Reserve free tickets now: https://icamiami.org/exhibition/four-rooms/
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Lonnie Holley, “The Roots Lost at Sea,” 2020. Wooden bat box, roots, rope, canvas, sticks, and model-ship sails. Museum purchase, with support provided by the Nadia Toscano Memorial Foundation.

Manoucher Yektai (1921–2019) is known for richly impastoed, highly expressive canvases that span still life, landscape, ...
06/18/2026

Manoucher Yektai (1921–2019) is known for richly impastoed, highly expressive canvases that span still life, landscape, portraiture, and color-field painting. "The Stranger and the Tree" traces key developments in the artist’s practice across more than thirty works, revealing his synthesis of Iranian and American visual traditions, Parisian modernism, and gestural abstraction into a distinctly transnational vision within the New York School.

Visitors can explore rarely seen abstractions from the late 1940s—dense compositions of organic forms and calligraphic lines—as well as still life and figurative works of the 1950s, where paint takes on an almost sculptural presence, and lyrical, naturalistic abstractions from 1959–63.

Experience “Manoucher Yektai: The Stranger and the Tree,” the artist’s first U.S. museum solo exhibition, at ICA Miami through November 22. Reserve free tickets at the link in bio. 🎟️
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Installation view: “Manoucher Yektai: The Stranger and the Tree,” at the Institute of Contemporary Art, Miami. April 30–November 22, 2026. Photo: Oriol Tarridas.

In celebration of , we’re highlighting Hudinilson Jr., one of Brazil’s most significant artists, who continues to influ...
06/17/2026

In celebration of , we’re highlighting Hudinilson Jr., one of Brazil’s most significant artists, who continues to influence new generations through his pioneering work and challenge to the status quo. 🏳️‍🌈 The artist (1957–2013, Sāo Paulo) came of age during the most repressive years of the military dictatorship in Brazil, working in a political climate that strictly censored and criminalized q***r life.

Beginning in the late 1970s, Hudinilson Jr. used photocopiers as his primary tool to conduct intimate studies of the human form, processing and re-processing images of flesh until they became emotionally resonant abstractions. He is best known for collages featuring enlarged, cut, duplicated, fragmented, and distorted images, often of his own body, classical sculptures, or figures drawn from gay po*******hy. In “Untitled,” part of ICA Miami’s permanent collection, Hudinilson Jr. reworks classical sculpture through the same process, drawing on myths like Narcissus.

ICA Miami is proud to have presented “Hudinilson Jr.: Tension Zone” in 2023, marking the artist's first-ever solo museum exhibition in the United States. “Untitled” is currently on view in “Counterpoints,” curated by Gean Moreno, Director of ICA Miami’s Art + Research Center, as part of "Four Rooms: Selections from ICA Miami’s Permanent Collection.”

🎟️ Reserve free tickets: https://bit.ly/4u8Aomv
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(1) Hudinilson Jr., “Untitled,” 1980s, photocopy on paper, 11 2/5 x 8 3/5 in. each (15 pieces). Museum purchase with funds provided by Culture Club. Photo: Zachary Balber. (2) Installation view: "Four Rooms: Selections of ICA Miami's Permanent Collection" at the Institute of Contemporary Art, Miami, April 30 – October 4, 2026. Photo: Oriol Tarridas.

Explore “Four Rooms: Selections from ICA Miami’s Permanent Collection,” a suite of themed installations, each organized ...
06/16/2026

Explore “Four Rooms: Selections from ICA Miami’s Permanent Collection,” a suite of themed installations, each organized by one of the museum’s curators. Associate Curator Amanda Morgan’s “Intimate Immensity” invites viewers to reflect on our relationship to the spaces of everyday life. The presentation draws its name from Gaston Bachelard’s seminal text “The Poetics of Space,” which describes how the places and objects we live among are deeply connected to memory, emotion, and imagination.

The artists featured in this room use different approaches to evoke the human presence: some suggest a figure just out of frame, others invite us to place ourselves within their invented realms, and some objects take on human qualities. The works prompt visitors to contemplate how societal, political, and cultural structures shape our engagement with the world around us.

Experience the diversity and historical depth of ICA Miami’s collection in person. Reserve free tickets: https://icamiami.org/
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(1–2, 4, 6–7): Installation view: "Four Rooms: Selections of ICA Miami's Permanent Collection" at the Institute of Contemporary Art, Miami, April 30 – October 4, 2026. Photo: Oriol Tarridas. (3) Louise Nevelson, "Untitled," 1976–78, acrylic on wood, 89 1/2 x 39 3/4 x 7 in. Gift of Pace Wildenstein in Honor of Irma and Norman Braman. (5) Dalton Paula, "Minha primeira visita à Nova York II," 2018, oil on encyclopedia, dimensions variable. Courtesy Sé Galeria. Photo: Paulo Rezende. (8) Damián Ortega, "Texto/Contexto," 2007, set of 17 concrete blocks, 47 1/4 x 59 in. Gift of Amy Dean and Alan Kluger. Courtesy the artist and kurimanzutto, México.

Harmony Korine’s work crosses the boundaries of discipline and form, and “Perfect Nonsense" features his paintings, phot...
06/15/2026

Harmony Korine’s work crosses the boundaries of discipline and form, and “Perfect Nonsense" features his paintings, photography, collages, zines, and drawings. Based on photographs taken in Nashville in 2009, where Korine lived for a decade, these poplar tree paintings combine inkjet printing with oil paint on canvas.

The close-up fragments of trees, often washed out and diffuse, evoke the look of faded or overexposed photographs. With layered brushwork and subtle color shifts, the paintings translate the peripheral landscapes of his Southern Gothic cinematic imagery into a two-dimensional form that is simultaneously familiar and uncanny.

Don’t miss “Harmony Korine: Perfect Nonsense,” the artist's first U.S. museum survey, on view at ICA Miami through October 4. Reserve free tickets at the link in bio to explore his boundary-pushing career. 🎟
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Installation view: "Harmony Korine: Perfect Nonsense" at the Institute of Contemporary Art, Miami. April 15–October 4, 2026. Photo: Oriol Tarridas. © Harmony Korine.

06/11/2026

Xojowi ja qa tee ruachulew means “Mother Earth Dances” in the Tz’utujil Maya language. Hear from Manuel Chavajay about how each word in WHAT carries meaning beyond translation.

Chavajay also explains how “Ru Sook Jab” [Rain Nest] (2024), a work comprising a canvas stained with burnt marine engine oil and three inkjet prints documenting a performance realized on the shoreline of Lake Atitlán, serves as both an act of healing and a testimony to how human beings mark and contaminate the Earth.

Experience Manuel Chavajay: Xojowi ja qa tee ruachulew at ICA Miami through November 22. Admission is always free; reserve timed tickets: https://bit.ly/4ckRgPh

In celebration of , we’re highlighting artist Ana Benaroya (b.1986, New York). Her figures gleefully upset traditional ...
06/10/2026

In celebration of , we’re highlighting artist Ana Benaroya (b.1986, New York). Her figures gleefully upset traditional expectations of dainty femininity, constructing a fresh female gaze defined by an assertive, idiosyncratic, and often overtly sexual presence. Drawing on art-historical and contemporary sources, Benaroya explores the dynamics of q***r intimacy in works like “The Kiss” (2021), part of ICA Miami’s permanent collection. 🏳️‍🌈

“What does le***an desire look like? That is a particular gaze. I’m not sure how to define it—it’s very indefinable, and often invisible. And that’s something that maybe can be encompassed in the female gaze. Maybe not, or maybe just a small part of it.” —

"The Kiss” was featured in “Fire Figure Fantasy” (2022), ICA Miami’s first major exhibition to showcase its permanent collection. Learn more about the artist’s work and explore the exhibition catalogue at ICA Miami’s Shop: https://bit.ly/3QhE5Yj
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Ana Benaroya, “The Kiss,” 2021. Oil on canvas. Institute of Contemporary Art, Miami. Gift of KAWS.

“Styles are meaningless. I’m searching for a firm truth, one that fulfills my own expectations,” —Manoucher Yektai In “C...
06/09/2026

“Styles are meaningless. I’m searching for a firm truth, one that fulfills my own expectations,” —Manoucher Yektai

In “Curtain and Still Life” (1952), Yektai (1921–2019) plays with frames of representation and perception. In the background, simple, expressive black lines suggest a curtain, and heavy, smeared, colorful paint marks suggest what lies behind it. But Yektai subverts the internal and external here not only by placing everything on the same surface, but also by taking what is seemingly outside and elevating and overturning its position on the canvas.

Paint itself becomes the subject here, built into heavy ridges and sweeping strokes that record the physical act of both looking and painting at once. The work reflects Yektai’s sustained exploration of how representation can remain emotionally and materially charged even as it moves toward abstraction.

See this work and more in the artist’s first U.S. museum solo exhibition, “Manoucher Yektai: The Stranger and the Tree,” on view at ICA Miami through November 22: https://bit.ly/3R1n5Wh
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Manoucher Yektai, “Curtain and Still Life,” 1952. Courtesy of the Manoucher Yektai Estate.

Kim Farkas works across sculpture and installation to explore synthetic sensuality, architectural memory, and hybrid ide...
06/08/2026

Kim Farkas works across sculpture and installation to explore synthetic sensuality, architectural memory, and hybrid identities. The artist (b.1988, Paris) combines industrial materials, organic forms, and digital aesthetics to create sculptures that resemble both organic plant growth and futuristic body parts.

“23-28” (2023), part of ICA Miami’s permanent collection, is a richly illuminated wall sculpture that draws on ceremonial offering practices across Asian diasporic communities. Its glowing form recalls the lithophane, a translucent image designed to be viewed with light, while also evoking broader histories of totemic objects.

Experience “23-28” at ICA Miami through October 4 in “Spirit Matter,” curated by Donna Honarpisheh, Associate Curator of Art and Research, as part of "Four Rooms: Selections from ICA Miami’s Permanent Collection.”

Reserve free tickets: https://bit.ly/4u8Aomv
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Kim Farkas, “23-28,” 2023. Custom composites, PETG, LED, electronics. 71 3/4 x 12 1/4 x 7 3/4 in (182 x 31 x 20cm) (TD-KF-100). Museum purchase with funds provided by ICA Miami’s Young Collectors Board. On view in "Four Rooms: Selections of ICA Miami's Permanent Collection" at the Institute of Contemporary Art, Miami, April 30 – October 4, 2026. Photo: Oriol Tarridas.

There’s never been a better time to join ICA Miami’s membership community! Your support helps champion innovative artist...
06/05/2026

There’s never been a better time to join ICA Miami’s membership community! Your support helps champion innovative artists, foster the exchange of art and ideas, and provide free access to contemporary art for all.

Join today to receive an invitation to a special all-members event next Wednesday, June 10, and enjoy year-round access to exclusive events, previews, and experiences. 🖼️ 🥂

Secure your membership: https://icamiami.org/support/

Address

61 NE 41st Street
Miami, FL
33137

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