Tides and Passages, an ambitious two-chapter presentation of recent and new large-scale new works by Ecuadorian-born, Miami-based artist Edison Peñafiel. Tides and Passages unfolds across two chapters and is produced in partnership with MAD Arts. Chapter I, a major revisioning of Peñafiel's evolving work MARE MAGNVM, debuts in Miami in November 2026 during Locust Projects' Annual Benefit Dinner on November 14 and is the sole project featured during Miami Art Week with a public celebration on Saturday, December 5 from 7-9pm co-hosted by Locust Projects and MAD Arts. In June 2027, Locust Projects presents Chapter II: De Profundis Clamavi ad Astra (From the Depths I Cried Out to the Stars), a new commission supported with a major grant by VIA Art Fund and produced with technical support from MAD Arts in Dania Beach. Expanding Penafiel’s cosmology, Chapter II: De Profundis Clamavi ad Astra (From the Depths I Cried Out to the Stars) marks one of the organization's largest presentations of a single artist's work in its 28 years as Miami's longest-running alternative art space. Presented as two large-scale installations, Peñafiel’s multi-chapter work stages migration as movement between worlds—an immersive video, sound, and textile universe. Opening December 05, 2026 7:00pm-10:00pm Locust Projects 297 NE 67th St, Miami, FL 33138 locustprojects.org

Group exhibition inspired by the concept of a surrealist garden, shaped simultaneously by growth and decay. Conceived as an environment in which material and process unfold across a continuous spatial field, the booth will showcase new bodies of work by Ana Benaroya, Cooper Cox, Katelyn Eichwald, Balarama Heller, Ficus Interfaith, Estefania Puerta, and Anders Herwald Ruhwald. The presentation will be anchored by a walkable, site-specific terrazzo floor by the artist duo Ficus Interfaith. Conceived as both an installation and a collection of individual inlaid panels, the floor depicts life-size human skeletons in burial repose alongside hand-bent metal foliage. Also embedded within the terrazzo are real river stones, oyster shells, and strands of salvaged pearls, creating a landscape that evokes both a garden and burial site. Drawing on archaeological traditions of “grave goods,” objects buried alongside the dead as possessions or markers of identity for the afterlife, Ficus Interfaith transforms these materials into traces of unknown lives, resulting in an installation that moves between ornamentation and mortality. Once removed from the booth installation, the works function as intricately detailed and textural wall pieces. December 4th - December 6th, 2026 Nina Johnson 6315 NW 2nd Ave Miami, Florida 33150 ninajohnson.com

Fred Wilson is renowned for his interdisciplinary practice that challenges assumptions of history, culture, race, and conventions of display. By reframing objects and cultural symbols, he alters traditional interpretations, encouraging viewers to reconsider social and historical narratives. Wilson’s early work was directed at marginalized histories, exploring how models of categorization, collecting, and display exemplify fraught ideologies and power relations inscribed into the fabric of institutions. His groundbreaking and historically significant exhibition Mining the Museum (1992) at the Maryland Historical Society, radically altered the landscape of museum exhibition narratives. As interventions, or “mining,” of the museum’s archive, Wilson re-presented its materials to make visible hidden structures built into the museum system, and American Society as a whole. At the onset of the twenty-first century, Wilson began to place more focus on his object-based work. In collaboration with the prominent American glass blower Dante Marioni, he began producing his first glass artworks in 2001—ambiguous black-colored forms that assert a multifaceted political undercurrent. “The color black represents African American people because it’s been placed on us as a representation,” Wilson says. “Of course, the color black—the absence of light—really has nothing to do with African Americans. But there’s a whole other layer of meaning.” Opens November 27, 2026 at 5 PM Primary 7410 NW MIAMI COURT, MIAMI, FL 33150 https://www.thisisprimary.com/

Becoming Landscape, the second solo exhibition with the gallery by Cuban-American artist Marlon Portales, featuring new paintings that explore the intimate relationship between the human body and the natural world. Proposing that the body is itself a landscape, the exhibition considers identity as a state of perpetual metamorphosis, shaped by memory, migration, and the places we inhabit, leave behind, or reconstruct through imagination. At the heart of the exhibition is the human figure, depicted in moments of contemplation, vulnerability, desire, and transcendence. Solitary and gathered bodies inhabit lush, dreamlike environments where the boundaries between figure and landscape begin to dissolve. Nature is neither passive nor merely a backdrop; it becomes an extension of the body, just as the body becomes an extension of the natural world. These encounters suggest a fluid relationship between the physical and spiritual, the internal and external. Migration and displacement inform Portales’s exploration of belonging. His experience leaving Cuba has shaped his understanding of landscape, revealing how places persist within us even as they are altered by distance, time, and memory. Drawing from lived experiences, dreams, and imagined environments, his paintings evoke spaces that feel simultaneously familiar and impossible to locate. These psychological landscapes exist beyond fixed narratives, where memory and imagination converge 11. 30 – 01. 09. 2027 Spinello Projects 2930 NW 7 Ave, Wynwood spinelloprojects.com

Composition of a Tear, Aaron Young’s first exhibition with the gallery. Through sculpture and performance, Young explores the tensions between creation and destruction, permanence and impermanence, and the transformative power of materials. At the center of the exhibition is a four-foot cube built by hand from roughly three-quarters of a ton of dry ice, with a stack of salt blocks shaped like the letter X running through its body. Over the course of one day, the ice sublimates, passing directly from solid to gas. As the blocks shrink, their seams widen, and the salt “X” descends until it rests on the floor. December 1st – January 16th, 2026 Opening Reception: December 1st 7 - 11 PM Artist Performance: December 1st, promptly at 9 PM KDR 790 NW 22nd, MIAMI, FL 33127