Disturbances in the Field assembles the diverse works of nine artists whose processes involve sampling, glitches, noise, static, feedback, forking paths and rogue signals to effectively hitch a ride on the improvisatory forces and wayward pathways that present themselves in contemporary life.

Under our feet lies a Baroque realm Caravaggio would envy, a great drama of poisons and parasites, slime and decay. Fungi, the great molecular decomposers, generate soil that brings back the dead. Life as it turns out, springs from rot, not flowers. Spider webs and termite mounds are just the tip of the dung pile that begets Nature’s underworld. Kinship in nature is not a peaceable kingdom or a pretty storybook. It is chaos and decadence, a worm-eaten, verminous thriving repast, feasting on detritus and ruin.

Gardening builds creation with every plant or wipes it clean away. A leaf blower kills what composting would conceive. Soil is a storage unit full of secrets, seeds waiting for their days in the sun. Our own itty-bitty backyards are a stage for what the world will be if only we’re brave enough to rip out our parents’ barren lawns and risk disarray.

The Wonder Gardens is our testament to the invigorating pleasures of digging in the earth again, a subterranean garden populated by scavengers. Build your monuments to them instead. They are the life force that stuffs your cupboards. These three artists share their love of what lies underfoot, in the ancient recesses of Pan’s lair. Pan is said to have died when people ceased to worship nature and the wild. We must get on our hands and knees and know the earth again. Restore her to her former glory, those buzzing, blooming, decomposing, ambrosial, fragrant gardens of yore. Let it grow wild, let it all grow wild. Then watch the world come back in again, unafraid.

Inhabiting the in-between space, to be everything – and nothing – simultaneously. This is the work of women, artists, and all those who dare to dream outside the boundaries of social constructs. What has been called “women’s work” in American society in the form of textiles and the home’s interior spaces are crucial to survival and yet are taken for granted all in the same breath.

In the art of Laura Marsh, Amy Gelb, and Laura Villarreal we are taken on a journey into these

in-between spaces that become cocoons of serenity, a place to dialogue, and reminisce as we are reminded to share our stories of joy and struggle lest we forget who we are. The artist Ana Mendieta once said, “My art is the way I re-establish the bonds that tie me to the universe.”

In this group exhibition, three artists have come together to explore this idea through the medium of textiles that literally and figuratively tie them to the universe while also exploring how they are tied to one another in this human experience we call life. This human journey is both a delicate and brutal affair punctuated by great joys and piercing sorrows; with long days, but years that seem

to fly by in the blink of an eye. How are we to gain meaningful understanding from such a rollercoaster of an experience?

Perhaps we can look to art and the process of making as both an outward expression and inward meditation that holds the ideas of the maker long enough so that others can share in the experience. The works of Laura Marsh, Amy Gelb, and Laura Villarreal are visually connected not only by literal threads but also by deeper meanings beyond the materiality of their chosen artistic mediums.

Between Latitudes unfolds as an artistic dialogue between artists Lujan Candria and Marina Gonella, both originally from Buenos Aires and now residents of Miami. The artists blend natural scenes from their contemporary surroundings with those from their memories of home. They use photography, video, painting, and textiles to bring to life the intertwined experience of living in two places at the same time.

A stroll through a garden or any natural environment can feel regenerative and even healing. It can produce awe while facing the solace or sometimes the abysmal it may bring; such as the moments when we find our inner sublimity in the smallest of the natural world, or sometimes confronting the grandeur and power of nature, or perhaps in our era, encountering the threats of climate change. The ever-persistent life, in spite of political crisis, world pandemics, financial disasters and bankrupt social systems, continues through the natural processes of life, death and decay.

Each mimetic work in this exhibition is a small story inspired in nature, hoping to offer contemplation of your own relationship to the environment.

Shared Narratives: A Group Exhibition by the Collective 62 brings together, for the first time at CA’ D’ORO Gallery in New York, a diverse group of artists whose works reflect their individual conceptual preoccupations while also highlighting the overarching themes that unite them. These women work together in the Liberty City neighborhood in Miami, in a communal space where they share meals, conversations, and creative ideas, resulting in a cohesive and thought-provoking exhibition. Through a range of mediums, including painting, sculpture, photography, ceramics and installation, the artists explore a variety of topics, such as identity, memory, the environment and social justice.

Portraits can be considered historical documents—an impression of a particular person, details of dress, surroundings, of location—but they also provide a timeless glimpse into the sitter’s psychological interiority, making them very much alive in the present. The works in Encounters: Contemporary Portraits attest to the qualities of certain portraits to confront in their immediacy certain enduring questions centered around identity, and personal and collective memory.

Clamoring pots and pans waking a household from its slumber, a bobbin of unspooled thread once used to mend a blouse, handwritten notes in the margin of old family recipes—what is nostalgia if not the impressions we leave behind? How do we mark our presence and preserve it in objects that linger? These questions lie at the heart of Time flies like an arrow; fruit flies like a banana. Borrowing its title from a quote by American comedian Groucho Marx, the exhibition cheekily captures residual impressions and remnants of homely objects—ones which we hold dear, and in some cases, reveal the often invisible labor performed by women in domestic realms. Featuring works by Liene Bosquê, Amy Gelb, Stephanie Eti Hadad, Amanda Linares, Molly McGreevy, Catalina Rojas, and Nina Surel, the exhibition traces the passage of time through its impact on the body, material possessions, and the spaces we occupy.