Program

SP1
Signe Pierce
ELECTROTEXTURE, 2014 - 2026
TV screens and video
Presented by ANNKA KULTYS GALLERY, London

ANNKA KULTYS GALLERY presents ELECTROTEXTURE by multimedia ‘reality artist’ and performer Signe Pierce, the inaugural offline exhibit of seven moving image works curated from an expansive ongoing series. Filmed across global cities, each short video is a portrait of hyperreality, as neon lights reflect on the surfaces of urban and domestic environments. Each is a record of the ephemerality of visual experience, a fleeting moment of kairos in which light, surface and the artist’s body meet in unique alignment, coming alive before disappearing. Pierce discovers, choreographs, and manipulates these overlooked encounters, filming them on an iPhone and heightening the colors and textures through editing before the final artwork appears. These works capture a central preoccupation of the artist’s practice: the increasingly blurred boundaries between simulation and reality, explored through postdigital processes and vibrant technicolours.

In honor of the gallery’s mission to democratize digital art collecting, each of the seven artworks is available in an edition run for $500, with an accompanying still from the work as a print.


SP2
Anna Barlik
Flags of Non-Existent Countries, 2026
Steel
Presented by Nguyen Wahed, New York / London

Anna Barlik's Flags of Non-Existent Countries is a series of formal compositions that engage the visual codes of nationality while critically reinterpreting them. The starting point is the flag, one of the most recognizable symbols of unity, identity and political belonging. In Barlik's work, this order is destabilized: colors assigned to particular countries are re-ordered, deconstructed and reconfigured into softer, less obvious tones, creating speculative emblems for countries that have never existed. By moving away from their usual forms, the works ask how symbols gain meaning and power, and invite viewers to look again at ideas often seen as fixed or natural.

Barlik is interested in the utopian potential of this gesture. What happens when a symbol is stripped of its official meaning? Is nationality a permanent category, or a construct under constant negotiation? Does belonging come from borders and history, or from the values, culture, and experiences we share? For the artist, identity is not a solid state; we define, redefine, construct and deconstruct ourselves in an ongoing process. Like the flags, belonging is fluid, changeable and multi-layered.


SP3
Alfredo Travieso
Political Geometry, 2026
Steel, Rebar, Metal Wire, and automotive paint
Presented by Dimensions Variable, Miami

The piece continues an ongoing body of work grounded in spatial paintings inspired by geometric abstraction. Responding directly to the curatorial prompt, the sculpture treats material as a political symbol. Rebar, a material bound to labor and construction, is deliberately broken and then painted, given a sly humor that points to folly. The work suggests function but remains fractured; it suggests progress but remains stunted, holding both conditions open at once without resolving into either. Pink runs through the piece as a sign of childlike innocence and the body, softening the hard industrial material even as it complicates it. The work is political precisely because it engages architecture, which quietly shapes human psychology and movement, governing how bodies travel through space and how they perceive it. Where the earlier spatial paintings treated geometry as a force that both organizes and disciplines, Political Geometry carries that same concern into three dimensions.


SP4
April Bey
Equity in Collecting, 2026
Pineapple leather, crushed velvet, jacquard, on wood panel
Presented by TERN, Nassau

Equity in Collecting is an artist-led initiative established by April Bey Studio to expand access to contemporary art collecting for individuals historically excluded from the art market by economic and systemic barriers. The program emerged from a contradiction within Bey’s own career: the artist and many of the cultural communities whose support helped elevate her practice had become priced out of collecting her work. In response, Bey developed an alternative collecting model that offers selected original artworks, including experimental and newly created works, to qualifying collectors at discounts of up to 90% off established retail prices. Rather than diminishing an artwork’s value, the initiative reimagines who can access it. Through an artist-supported pricing structure, works retain their full established retail value while becoming financially accessible to otherwise excluded collectors. Sponsoring Collectors can also purchase designated works at full retail price, helping sustain future offerings. The project invites audiences to reconsider who participates in the art market, who gets to own contemporary art, and how artists can create more equitable collecting opportunities within their own practices.


SP5
Gabo Arora
The Great Dictator, 2026
Participatory AI installation
Presented by Pariah Interactive and Lightshed

The Great Dictator places visitors inside the history of political speech. Standing at a podium, participants deliver excerpts of iconic speeches from across the political spectrum, including addresses by Ronald Reagan, Malcolm X, and Zohran Mamdani. Using real-time generative video, the system captures each participant’s likeness and voice and composites them into the original archival footage, placing them on the stage and before the crowd at the moment of history.

Taking its title from Charlie Chaplin’s 1940 film, which used performance and satire to confront authoritarianism, the work asks audiences not to watch a dictator but, briefly, to become one. Participants speak words they may revere, resist, or distrust, and feel the pull of rhetoric from the inside. That tension between belief and action is the cognitive dissonance at the heart of the piece. At a moment when deepfake technology is most often used to manipulate and disempower, The Great Dictator turns the same tools toward agency, voice, and historical presence, inviting reflection on propaganda, the ethics of generative media, and our own susceptibility to it.


SP6
Sebastian Errázuriz
The Shape of Consciousness, 2026
Mixed media installation
Presented by IMAZ Foundation, New York

The Shape of Consciousness begins with a question held in time—asked before silence hardens into distance and private suffering becomes unsharable. Sebastián Errázuriz’s solo project approaches suicide prevention through sculpture, image, and reflection, dwelling in the interval between what is shown and what is withheld: where a person may be present without feeling seen. Errázuriz reorients familiar forms, symbols, and gestures, creating interruptions that shift our relation to material, scale, and space. Mirrored surfaces become quiet instruments of encounter, receiving fragments—a face, a shoulder, a passing figure—while offering no fixed identity. Continually altered by light, movement, and proximity, reflection places the viewer in a shared field where self-image is shaped by others and looking becomes Awareness.

The project advances suicide prevention through an ethics of attention: noticing, askingwithout judgment, listening, and remaining nearby. A portion of proceeds benefits the Columbia Lighthouse Project, supporting suicide-prevention education and the Columbia Protocol. Here, sustained attention can keep a conversation—and a possibility—open.


SP7
Mark Flood
Daily Flood, 2026
Mixed media installation
Presented by Daily Flood, Houston

Daily Flood is an immersive, experimental installation dedicated to the work of legendary Houston artist Mark Flood, transforming the traditional art fair booth into an intimate, lived-in artist’s studio and private viewing room. Building upon its debut at Untitled Art, Houston 2026, the Miami Beach presentation will feature a selection of Flood’s iconic lace paintings alongside his provocative meme and virtue signal paintings, creating a compelling visual and psychological dialogue between beauty and confrontation, attraction and repulsion, and high art and mass culture. Rather than adhering to conventional white cube exhibition standards, paintings will be stacked on the floor, leaned against walls, and interspersed among domestic furniture and found objects, creating an environment that feels simultaneously like an artist’s working studio, private collection, and informal gathering space.

The installation deliberately blurs boundaries between the sacred and the profane, the commercial and the personal, inviting visitors to experience Flood’s work outside the traditional hierarchy of the art market.


SP8
Max Siedentopf
FIN, 2026
Steel basin, animatronic shark fin, ink, and water
Presented by NINO MIER GALLERY, Brussels / New York

FIN presents a shark fin endlessly circling within a steel pool filled with black water, trapped somewhere between spectacle and threat. The work transforms one of humanity’s most primal fears into a controlled, almost absurd performance. The title carries a double meaning: the shark fin itself, but also fin as “the end” — the sudden realization people imagine just before something terrible happens. The endless circular motion suggests a system with no resolution, where anxiety repeats itself over and over again. Suspended between danger and entertainment, the sculpture turns fear into something both cinematic and strangely familiar.


SP9
Germane Barnes
Pull Up a Chair, 2026
Wood and mixed media
Presented by Studio Barnes

In the South, there’s always room for one more if you "pull up a chair." It’s a welcome that traveled north and west with the Great Migration and returned every year for family reunions and homecomings. Every piece in the series shares the same chair back—a common starting point—while its seat, legs, and base are reinterpreted. Some chairs stand alone; others join into benches, making room for more. Grounded in Studio Barnes’ examination of community identity through historical research and fieldwork, the series treats sitting together as a form of collective imagination and invites visitors to do what the title suggests.


SP10
Isabelle Wenzel
Provisional Evidence, 2026
Mixed media installation
Presented by Jeni Abramson Gallery, Los Angeles

For more than two decades, Isabelle Wenzel has used her own body as sculptural material, holding impossible positions in the seconds a self-timer allows. The resulting photographs promise evidence, yet the situations they depict resist interpretation. Responding to the 2026 curatorial focus of cognitive dissonance, Provisional Evidence turns the booth into a living archive. Prints spanning twenty years are taped, pinned, layered, and removed; garments from past performances hang as traces of absent bodies; a looping video reveals failed attempts and rehearsals. Throughout the fair, Wenzel returns to her worktable to crop, reprint, and rephotograph, generating new evidence from existing evidence, while live sound built by a looper, a microphone, and the artist at work accumulates and dissolves. Rather than resolving uncertainty, the installation treats contradiction as a productive condition of perception: an archive continually rewriting itself.


SP11
Fernanda Froes
Mangrove: A Landscape in Transition, 2026
Raw cotton canvas, embroidery, and natural pigments
Presented by The55Project Art Foundation, Miami

Mangrove: A Landscape in Transition explores the tension between ecological continuity and environmental erasure through a suspended, double-sided textile installation. Hand-cut cotton fragments and embroidered threads are painted with mangrove pigments extracted from Rhizophora mangle and calcium carbonate pigment, connecting the forest to South Florida’s geological foundation.

On one side, “From Mangrove to Oolite” traces the transition from green to white, mapping the relationship between the forest canopy and the limestone beneath it. Stitching suggests repair, holding a fragmented landscape together. On the reverse, “Erased Mangrove," the same transition evokes disappearance, as the forest fades from the territory and collective memory.

Visually similar yet conceptually opposed, the two sides embody the cognitive dissonance between recognizing mangroves’ ecological importance and sustaining development that destroys them. As viewers move around the work, they encounter conflicting readings of a landscape, confronting the distance between what we know, what we value, and how we choose to act.


SP12
Lizzie Munn
Sharper than round, blunter than sharp, 2026
Hand printed lithography ink on Chinese rice paper, steel bars, magnets
Presented by Patrick Heide Contemporary Art, London

A vast field of fluorescent green cuts through space in Lizzie Munn’s Sharper than round, blunter than sharp. Drawing on Miami’s neon signage, Art Deco architecture and exuberant visual culture, Munn translates the city’s visual intensity into an installation composed of delicate rice paper, hand-printed with industrial lithographic ink. Thinking through color, Munn’s practice combines printmaking and installation, adopting analog processes that distance the hand while embodying the physical gesture of making. For Sharper than round, blunter than sharp, each sheet was passed through an etching press, building up saturated fields of high-pitched color alongside hazy, eKervescent gradients. Woven together on steel armature and held in place by magnets, the prints form an immersive composition that appears both systematic and provisional. The work remains active in space, moving and breathing with its surroundings. Color spills beyond the edge of individual sheets, blurring the structure’s boundaries. Balancing the handmade with the industrial, the installation explores visual and spatial tension, where conflicting elements coexist.