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Institute of Contemporary Art, Miami

Name: Institute of Contemporary Art, Miami
Address: 61 NE 41st Street, Miami, FL, 33137, US
Telephone: +13059015272
Price range: Not applicable

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Institute of Contemporary Art, Miami

Miami's home for the most innovative art of our time. Free admission every day.

ICA Miami is dedicated to promoting continuous experimentation in contemporary art, advancing new scholarship, and fostering the exchange of art and ideas throughout the Miami region and internationally. Through an energetic calendar of exhibitions and programs, and its collection, ICA Miami provides an important international platform for the work of local, emerging, and under-recognized artists,

and advances the public appreciation and understanding of the most innovative art of our time. The museum is deeply committed to providing open, public access to artistic excellence by offering year-round free admission.

09/02/2026

Join us for ICA Miami's Annual Family Fest, returning Sunday, October 25, 1–4 PM! This year's theme, “We Are Miami,” celebrates the communities that shape our city through art, music, and performance, with hands-on activities inspired by Miami's artists, architecture, and cultural traditions, including:
🖼️ Interactive murals celebrating the unique history and design of Miami
🎨 Creative art-making stations designed by local artists for all ages, inspired by the colorful neighborhoods of Miami
💃 Interactive show with Miami's own Fantasy Theatre (Arrive early to grab a seat!)

🎟️ Tickets: $50 adults, $15 kids, free under 3. Proceeds support ICA Miami's free youth weekend programming. Reserve tickets now: https://bit.ly/468fbia

09/01/2026

Heji Shin is an experimental photographer whose work probes how we see ourselves and each other. Shin (b.1976, Seoul) often turns the camera on herself, but rather than building intimacy with the viewer, her X-ray self-portraits reveal almost nothing about the subjects.

"Self Portrait Holding a Chihuahua II" (2018), part of ICA Miami's permanent collection, depicts the artist alongside a street-cast dog from Mexico City's Condesa neighborhood. They are reduced to their skeletal structures alone, leveling the hierarchy between humans and animals and exploring themes of vulnerability and bodily exposure.

See this work and more in “Counterpoints,” curated by Gean Moreno, Director of ICA Miami’s Art + Research Center, as part of "Four Rooms: Selections from ICA Miami's Permanent Collection." Reserve free tickets to experience the exhibition through October 4: https://bit.ly/4u8Aomv
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Heji Shin, “Self Portrait Holding a Chihuahua II,” 2018. Inkjet print on aluminum. 28 1/2 x 23 1/2 in. Museum Purchase with funds provided by Peggy and Danny Comden. On view in "Four Rooms: Selections from ICA Miami's Permanent Collection" at the Institute of Contemporary Art, Miami, April 30 – October 4, 2026. Photo: Oriol Tarridas.

08/31/2026

Recent Acquisition ✨ British artist Liam Gillick’s work spans sculpture, text, film, and architecture. The artist (b.1964, Aylesbury, UK) rose to prominence in the early 1990s London art scene alongside Damien Hirst and Sarah Lucas, and in 2009 became the first non-German artist to represent Germany at La Biennale di Venezia.

Anchored in the standardized hues of the RAL color system—a color palette originally used by the military, which became a reference for corporate design in the 1990s—Gillick’s works take the form of platforms, screens, benches, prototypes, and structural supports rendered in Plexiglas and aluminum.

“Contained Production Field (Silver)” (2005), now part of ICA Miami’s permanent collection, is a floor-based work in which a square of sparkling material is held within a white metal frame. Sitting somewhere between sculpture, architectural fragment, and design object, the work exemplifies Gillick's interest in how modernist aesthetics and utopian design ideals collide with the realities of globalized production.
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Liam Gillick, "Contained Production Field (Silver)," 2005, Silver glitter, aluminum frame. Gift of Dr. Alfredo Gillio and Paul Bernstein. Image courtesy Casey Kaplan Gallery.

08/27/2026

“Diego Singh: Deeper and Deeper,” the Miami-based artist’s first museum solo presentation, debuts at ICA Miami during . The exhibition brings together works from the past decade alongside new large-scale works that highlight the artist’s approaches to monochrome and intensive layering.

Singh’s (b.1976, Salta, Argentina) canvases feature saturated colors that dominate the viewers’ eye, with the effect molten and sublime. The artist is interested in the q***r coding of color, an effort underscored by his occasional use of Martha Stewart-brand craft brushes or a makeup airbrush gun to render the currents in his painting.

“Diego Singh: Deeper and Deeper” is curated by Alex Gartenfeld, Irma and Norman Braman Artistic Director, and is on view December 1, 2026 – April 11, 2027: https://bit.ly/4y3rKHy
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Diego Singh, “In my Yellow Eye (Sin Nombre 3),” 2022–2024, 96 x 72 inches, Oil on linen. Photography: Armando Vaquer. Courtesy of CENTRAL FINE and Luhring Augustine Gallery.

08/26/2026

Remembering Dolly Parton, an icon whose music and generosity continue to inspire. "Dolly Parton with Kitten" (2021) by Sam McKinniss, part of ICA Miami's permanent collection, is emblematic of the artist's figurative work.

“Dolly Parton is as important to 20th century American letters as Joan Didion is, especially if you take Didion at her word, that, ‘We tell ourselves stories in order to live.'” —
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Sam McKinniss, "Dolly Parton with Kitten," 2021. Oil on linen. 24 x 18 in. Promised gift of John Auerbach and Ed Tang. Photo: Dan Bradica.

08/25/2026

“The Stranger and the Tree” takes its title from ’s 2005 poem about a solitary tree growing without soil, out of place, yet still able to live and bear fruit. 🌳 It's a powerful way to think about his work as a creative process shaped by movement across Tehran, Paris, and New York, and by the attempt to create a visual language that holds all of those worlds together.

The exhibition traces four distinct series created between 1948 and 1963, bringing together some thirty paintings that reveal the artist's development, and closing with his "natural abstractions" from the late 1950s and early 1960s.

In these lyrical works, the horizon line disappears, and trees and plants emerge from thick, diagonal strokes of color. For Yektai, the image of a solitary tree thriving “without soil” was a powerful metaphor for the diasporic experience—finding roots and beauty amid constant movement.

Reserve free tickets to experience “Manoucher Yektai: The Stranger and the Tree” at through November 22: https://bit.ly/3R1n5Wh

08/19/2026

Since the mid-2000s, Harmony Korine has pushed his painting practice further into abstraction. His “Fazor” and “Chex” series, on view in "Harmony Korine: Perfect Nonsense" at ICA Miami, showcase his investigations of psychedelic effects and escape.

🌀 The "Fazors" series creates the illusion of a vortex or a constantly shifting landscape. Korine layers vivid color in rhythmic gestures, and repeated circles, lines, and amorphous shapes pull the eye inward with a hypnotic, gravitational pull.
💥The "Chex" series takes a denser approach: grids of oil, latex house paint, ink, and collage stack into forms resembling a visual mantra. Starburst compositions send ink and acrylic outward from a central point, while horizontal bands build into layered compositions that recall geological formations.

Explore Korine's boundary-crossing practice in "Perfect Nonsense," on view through October 4. Reserve free tickets: https://bit.ly/4lfAgOu
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(1,4) Installation view: “Harmony Korine: Perfect Nonsense” at The Institute of Contemporary Art, Miami. April 15 – October 4, 2026. Photo: © Harmony Korine. (2–3,5–6)

08/18/2026

Recent Acquisition ✨ Sabine Hornig explores how image and materiality shape our experience of the urban environment. Since 2001, Hornig (b.1964, Pforzheim, West Germany) has photographed storefront windows throughout Berlin, transforming them into spatially ambiguous surfaces that oscillate between mirror and window, holding both the interior world of the shop and the reflected world of the street outside.

“I often integrate photography into sculpture so that visitors are immersed in a pictorial space through a transparent image.” —

“Ohne Titel/Untitled” (2003), now part of ICA Miami’s permanent collection, belongs to this ongoing body of work in which Hornig’s photographs are printed as large-scale transparencies mounted behind transparent plastic. Up close, the traces and residue of the physical world—dust, fingerprints, streaks, scratches—accumulate on the image's surface, creating a sort of shadow record of the window’s relationship to time and use.
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Sabine Hornig, "Ohne Titel/Untitled," 2003, photoprint behind Perspex. Institute of Contemporary Art, Miami. Gift of Private Collection.

08/17/2026

Before Manoucher Yektai (1921–2019) became known for his signature impastoed canvases, the artist's rarely seen early works, created after his training in Tehran, Paris, and New York, display a commitment to line and biomorphic forms shaped by his engagement with Surrealism.

Rendered in a rhythmic palette of yellow, brown, copper, and blue, these works create a dense field of fluid, organic forms. Yektai used precise lines and flat colors to suggest organic forms that seamlessly melt into the background, blurring the boundary between subject and space. ☁️✨ In his later work, that line would give way entirely to the gestural, built-up surfaces for which he's best known.

Explore "Manoucher Yektai: The Stranger and the Tree" to trace the artist's evolution from surrealist-inflected abstraction to his signature gestural abstraction.

🎟️ Plan your visit to see the exhibition through November 22: https://bit.ly/3R1n5Wh
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(1) Manoucher Yektai, Untitled, c.1949. Oil on canvas. Courtesy of Philip & Josiane Cohanim. (2) Manoucher Yektai, Untitled, 1949. Oil on canvas. Courtesy the Manoucher Yektai Foundation. (3) Manoucher Yektai, Untitled, 1948. Oil on canvas. Courtesy the Estate of Manoucher Yektai and Brendan Dugan. (4) Manoucher Yektai, Untitled, 1949. Oil on canvas.Courtesy the Estate of Manoucher Yektai.

08/13/2026

Dalton Paula works across painting, photography, and installation, engaging with Afro-Brazilian history and the recovery of Black lives erased or omitted from official narratives. In “Minha primeira visita à Nova York II” (2019), Paula (b.1982, Brasília, Brazil) paints directly onto the pages of an encyclopedia, literally rewriting the official record. Created during an artist residency in New York, the work also reflects Paula's shock at the city's cold winter, a stark contrast to the heat of the Brazilian Midwest.

"The idea is to occupy the volume covers with other narratives, to think about the protagonism of Black bodies and what permeates them, in contrast to Eurocentric and erudite knowledge." — Dalton Paula

See “Minha primeira visita à Nova York II” and more in “Intimate Immensity,” curated by Amanda Morgan, Associate Curator, as part of “Four Rooms: Selections from ICA Miami's Permanent Collection.” Reserve free tickets to experience the exhibition through October 4: https://icamiami.org/exhibition/four-rooms/
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(1–2) Installation view: "Four Rooms: Selections from ICA Miami's Permanent Collection" at the Institute of Contemporary Art, Miami, April 30 – October 4, 2026. Photo: . (3–7) Dalton Paula, “Minha primeira visita à Nova York II,” 2018. Dimensions Variable. Courtesy Sé Galeria Photo/ Paulo Rezende.

Address

61 NE 41st Street
Miami, FL
33137

Opening Hours

Wednesday	12pm - 6pm
Thursday	12pm - 6pm
Friday	12pm - 6pm
Saturday	12pm - 6pm
Sunday	12pm - 6pm

Telephone

+13059015272

Website

https://icamiami.org/

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