PAN AMERICAN ART Projects

09/29/2026

Join us this Sunday, October 4, for the Progressive Art Brunch! 🥂

We’re excited to be back at the Progressive Art Brunch and to welcome you to our Allapattah space and to participate once again in this special Miami art community tradition.

Come visit us from 11 AM–4 PM and explore Chromophilia, our current group exhibition.

From our curatorial notes:

“Chromophilia takes its point of departure from David Batchelor’s Chromophobia (2000), which
examines Western culture’s historical unease with color—often treating it as decorative,
irrational, feminine, or subordinate to the order of line and drawing. Yet Batchelor’s final chapter
reverses this diagnosis, celebrating artists who embrace color as a positive and transformative
force. It is this turn from fear to affirmation that lies at the heart of Chromophilia.
Today, that gesture acquires new urgency. We live amid an overwhelming saturation of images,
information, and identities, increasingly filtered and recombined by algorithms that shape what
we see and how we relate. Against this constant mixing, Chromophilia proposes a return to
primary color not as nostalgia or simplification, but as an act of conscious choice: a way of
reclaiming the elemental and recovering our capacity to decide before systems decide for us.”

📍 Pan American Art Projects
1557 NW 28th St, Miami, FL 33142
🗓 Sunday, October 4 | 11 AM–4 PM

We look forward to seeing you!

09/25/2026

Thank you to everyone who joined us in Allapattah to celebrate color, art, and the artists who bring this exhibition to life. 💙💛❤️

CHROMOPHILIA
September 24 – November 5, 2026
1557 NW 28th Street, Miami

🌈

09/17/2026

09/04/2026

Luis Cruz Azaceta is a devotee of visual experiment who often develops parallel series in several media at once, combining materials in totally unexpected ways, as with his extended series of photographs mounted on twisted metal stud. Azaceta works constantly and is extremely prolific.

For Azaceta, art is a way of facing the world. He recognizes that change is inevitable, and that all of us are implicated by reality and time passing. The world we inhabit is contingent and changing; and chaos is an inherent part of the process. This is the reality we all share and which we all too often ignore.

Pictured: “El dictador¨ from the Personajes Portfolio, 2011. Digital print, 19.50 x 19.50 in



📍1557 NW 28th St. Miami Fl, 33142
Open Tue- Fri 10 a.m. - 5:00 p.m.

09/04/2026

The idea for this portfolio was born out of Luis Cruz Azaceta’s series of drawings Personajes (Characters). The drawings rep resent generic ‘characters’ that he has encountered in his life, including himself. Among them are the ever-present dictator, the banker, the contractor, the preacher, the politician, the businessman, and even the artist. This is a playful group of drawings, but with a serious intent.

Through these characters, Azaceta turns recognizable social roles and archetypes into expressive, psychologically charged portraits—each revealing something about power, identity, politics, survival, and the complexities of contemporary society.

Pictured: ¨Business man¨ from the Personajes Portfolio, 2011. Digital print, 19.50 x 19.50 in



📍1557 NW 28th St. Miami Fl, 33142
Open Tue- Fri 10 a.m. - 5:00 p.m.

09/03/2026

Luis Cruz Azaceta says that “this work drew upon humor, absurdity and exaggeration to convey a certain “personaje” - a character. It seems to have somewhat of an iconic look - an isolated figure in a white field where the extremities turn into specific elements, which help to depict the character more fully”.

Irony has always been part of Azaceta’s work and, in this series of drawings, he has intentionally made his ‘personajes’ cartoonish looking, magnifying their faults. There is a fable-like component as well, because he includes animal elements as part of the character’s attributes, like for the Contractor, who is sporting rabbit ears and teeth.

We are used to Azaceta’s art as not being complacent; it is visceral, aggressive, and even intrusive. It is a direct social critique, meant to disrupt the status quo; it calls attention to some aspects of humanity which the artist confronts face on.

Pictured: ¨Old Politico¨, from the Personajes Portfolio, 2011. Digital print, 19.50 x 19.50 in



📍1557 NW 28th St. Miami Fl, 33142
Open Tue- Fri 10 a.m. - 5:00 p.m.

08/27/2026

Connections in Space

Carolina Sardi’s wall series explores the relationship between individual elements and the larger space they inhabit. Constructed from steel, the works combine geometric and organic forms to create compositions that appear almost like drawings suspended in space.

For Sardi, installations represent “moments in time” and “connections in the journey,” while the surrounding space becomes an essential part of the work. Light, shadow, line, and negative space all contribute to the experience of each sculpture.

Details of Carolina Sardi, “Gravitational Field,” 2016. Plated Steel over Painted wall, 98 x 136 x 2 in

08/26/2026

Carolina Sardi: Constellations
Born in Argentina and based in Miami since 1995, Carolina Sardi is a sculptor known for transforming steel and aluminum into organic, dynamic compositions. Educated at the National University of La Plata, she later studied with Argentine sculptor Ennio Iommi.
In her Constellations series, Sardi looks upward and outward, using lines and planes to create compositions that seem to float within space. The works explore connections, movement, and orientation while allowing light and shadow to become part of the composition.

Pictured: Carolina Sardi, “Gravitational Field,” 2016. Plated Steel over Painted wall, 98 x 136 x 2 in

08/25/2026

From Matter to Space

Carolina Sardi approaches sculpture as an exploration of the relationship between form and space. Her installations are composed of interconnected steel elements that extend beyond the traditional boundaries of a sculpture, activating the wall and surrounding space as part of the work.

Sardi has described her practice as being rooted in the deep connection between the components of the universe. In her wall landscapes, this idea becomes visual: separate forms come together to create a larger structure, suggesting networks, movement, and the interconnectedness of individual elements.

Details of Carolina Sardi, “Gravitational Field,” 2016. Plated Steel over Painted wall, 98 x 136 x 2 in

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