On April 10, we found ourselves at the intersection of First and First at perhaps one of the most contentious of civic spaces—the courthouse. Guided by Amanda Sanfilippo Long, Curator and Manager of Art in Public Places and Director of the South Florida Cultural Consortium, we explored new commissions at the Osvaldo N. Soto Miami Dade Justice Center. Moving through lobbies, courtrooms, and waiting rooms—spaces where people navigate profound moments—we encountered artworks that demanded that we feel the weight of decisions made in these rooms.

Each space invited us to remember where we are and to put ourselves in the shoes of someone else, envisioning the scenarios under which they might be at the courthouse, and how art, in all its promise, offers perspective.

Beverly Acha, *Nuevos Principios o In Praise of Change* (To the People of Miami), Oil on linen, 76 x 387.5 inches (2025). Photo by Courtesy of the artist / Adam Reich

Beverly Acha: Circular Ruins
April 17—May 30, 2026
Izzy Lee Gallery
508 Chung King Rd.,
Los Angeles, CA 90012

Nuevos Principios o In Praise of Change (To the People of Miami) is Beverly Acha's first public art commission. A Season Three commissioned artist, Acha’s monumental 32-foot oil painting abstracts familiar forms found in nature. Miami, with its ocean and light, serves as a recurring motif in the artist's work.

With her first Los Angeles show at Izzy Lee Gallery, Circular Ruins features new paintings exploring the symbolism of time—using broken clocks and spirals—inspired by Jorge Luis Borges’ short story of the same name.

Learn more about Acha, and take a look at her monograph, here.

Loni Johnson, *His Arrow Never Misses The Mark…,* Gold beads, bamboo earrings, cowrie shells, lace, fabric, and found objects assemblage on wood panels, Dimensions variable (2025). Photo by Gesi Schilling

Loni Johnson in Material, Material World (Miami)
April 16—May 30, 2026
David Castillo Gallery
25 NE 39th St.,
Miami Design District, FL 33137

Loni Johnson's installation at the courthouse, titled His Arrow Never Misses The Mark…, draws directly from High John the Conqueror, a powerful hoodoo symbol representing resilience, self-determination, protection, and victory. The Season Six artist uses reflective materials that literally mirror the image of viewers and their surroundings, creating an intentional visual dialogue where audiences see themselves and can be seen within the work. Just as significant is the artwork's placement in a waiting room—an interstitial space that functions as a portal between decisions and choices. This deliberate spatial positioning offers familiarity and contemplation in a transitional environment—perhaps even comfort at a moment when many are navigating significant life circumstances.

More of Johnson’s artistic practice is now on view in Material, Material World (Miami) at David Castillo Gallery, a group exhibition featuring works by Miami-based artists exploring and pushing the limits of materiality.

Morel Doucet, *Sunset Serenade: Notes on a Vanishing Landscape,* Aluminum Dibond, Matte Vinyl and Powder Coating, 32’ 9 ½" x 6’-10" x 2" 1/8" (2025). Photo by Pedro Wazzan

Morel Doucet in Fractured Foundations: 250 Years of American History
June 27—November 29, 2026
American Museum of Ceramic Art
399 North Garey Ave.,
Pomona, CA 91767

Sunset Serenade: Notes on a Vanishing Landscape is Season Three commissioned artist, Morel Doucet’s foray into new mediums and sculptural language. Following his 2024 residency in the Everglades with AIRIE, Doucet was inspired by the dynamic and fragile landscape of South Florida, memory, and Caribbean motifs from his Haitian heritage.

Public art often pushes artists beyond their comfort zone as an opportunity to design for surfaces and spaces they may not have otherwise considered. Doucet describes this work as “looking through [his] memory,” using sunset hues to evoke a feeling of happiness in an otherwise serious space.

To see more of Doucet’s work, visit his permanent installation in the lobby of the Domus Flats Hotel in Brickell, which extends the themes from his ongoing body of work in the courthouse. Additionally, Doucet will be featured in Fractured Foundations exhibit this summer at the American Museum of Ceramic Art (AMOCA). Coinciding with the 250th anniversary of the United States, the show invites artists to reconsider historical events through contemporary ceramic practices, challenging dominant narratives while highlighting resilience, injustice, and transformation.

Edouard Duval-Carrié, *Ode to the Everglades,* Acrylic, glitter glue, and UV resistant satin varnish on Aluminum, Diptych, 34 x 10 feet each (2025). Photo by VAS Art Productions & Luis Eligio D Omni

Edouard Duval-Carrié in Crossing the Bridge
On view through May 24, 2026
Oolite Arts
924 Lincoln Rd.,
Miami Beach, Florida 33139

In Minor Keys
61st International Art Exhibition of La Biennale di Venezia
On view through November 22, 2026
Arsenale and Giardini
Venice, Italy

Ode to the Everglades is Edouard Duval-Carrié's largest painting to date and serves as the primary public art installation at the justice center's main lobby entrance. Like Doucet, Duval-Carrié highlights South Florida's biodiversity. His works in the courthouse offer a perspective where the Everglades dominate the foreground while the Miami cityscape appears diminished in the background—a direct visual statement on where our care should be directed.

The Season Seven Commissioned artist is having an eventful year on the world stage ahead of his Venice Biennale debut. Travel to Venice with us this fall to see his works in person, and closer to home, visit Oolite’s Crossing the Bridge exhibition curated by Claire Breukel and Lauryn Lawrence. Programming includes a panel discussion with Yanira Collado on Saturday, May 23, 6–8 PM (RSVP) and curatorial tours.

4 Artists, 4 Shows, and the New Courthouse in Downtown Miami

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