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1540 Northeast Miami Court
Miami, FL 33132
305 448 8976
Fredric Snitzer Gallery has been a leader in the contemporary art market in South Florida for over 40 years. Committed to presenting work across all media from a diverse range of contemporary artists, the gallery has maintained a rigorous exhibition schedule that features at least eight rotating exhibitions by its artists each year.

Fredric Snitzer first opened his gallery in 1977 on Biltmore Way in Coral Gables, followed by successive galleries at North Ponce de Leon, Bird Road, and Wynwood. In 2014, Fredric Snitzer Gallery relocated to the Arts & Entertainment District near Downtown Miami. The gallery’s current space includes a 3,000 square foot indoor exhibition space, divided into two galleries, and a 2,600 square foot outdoor sculpture garden.

One of the early champions of contemporary Latin American art in the United States, the gallery has shown in-depth presentations by Cuban artists such as Luis Crus Azaceta, Carlos Alfonzo, José Bedia, and Tomás Esson. Avant-garde Cuban artists in particular continue to have a strong presence on the gallery’s roster. In the new millennium, Miami went global with Art Basel. Snitzer’s continuous presence in the Miami art scene as an artist and dealer, his local knowledge, and his extensive list of longtime collectors made him a natural choice for Art Basel’s selection committee when the fair launched in Miami. He has served on the committee board of Art Basel Miami Beach since its inception.

Today the gallery’s program is diverse, keen to place an emphasis on identifying and cultivating the careers of young, emerging artists while showcasing established work from mid-career artists on a local and global scale.
Artists Represented:
Ajarb Bernard Ategwa
Alice Aycock
Assume Vivid Astro Focus 
Hernan Bas
José Bedia
Enrique Martínez Celaya
Raúl Cordero
Blane De St. Croix
Elena Dorfman
Tomas Esson
Jackie Ferrara 
Luis Gispert
Maria Elena Gonzalez 
Iva Gueorguieva
Ridley Howard
Kelley Johnson
Alexander Kroll
Erika Malzoni
Maria Martinez-Canas
Ernesto Oroza
Emilio Perez
Vickie Pierre
Jon Pylypchuk
Kenny Scharf
Alan Sonfist
Tomas Vu
James Wines



Past Exhibitions

José Bedia, Tomás Esson, Yusimy Lara, Jon Pylypchuk, & Alan Sonfist

The New Age Of Bronze

June 27, 2021 - August 21, 2021
Fredric Snitzer Gallery is pleased to present, The New Age of Bronze, a group exhibition of sculpture by six artists’ exploring contemporary interpretations of the traditional technique and material, bronze. The title references the great civilizations of The Bronze Age which marked the time humans first began working with metals, a period that brought about other technological advances such as the first writing systems and the invention of the wheel. The New Age of Bronze focuses on contemporary approaches and surveys various methodologies and perspectives specific to each of the featured artists: José Bedia, Tomás Esson, Yusimy Lara, Jon Pylypchuk, and Alan Sonfist. Jose Bedia’s neo-primitivist style is a unique synthesis of the artistic traditions of tribal cultures in Africa and those crafts indigenous to the Americas. Known for his large-scale paintings, his works frequently depict mythical elements, altars, and other sacramental imagery. Nkuyu Wele Konda Nsese (Trickster Hunting an Antelope) is an installation that plays between the physical and non-physical. The trickster, an immaterial being in many cultures, is presented as a bronze sculpture “catching” an intangible painted antelope made of traditional tukula powder. In the painting are other physical elements that protrude such as arrows, real animal legs, and a rope, a metaphorical umbilical cord between the figure and his alter ego. Using Congo myth, Bedia transforms the metaphysical into solid and tangible while creating a seamless translation of the artist’s oeuvre into bronze. For Tomás Esson the Talisman symbolizes not only the relationship with his father, who introduced him to the concept of a “resguardo” or personal protective amulet but also signifies many transformations in his life. It is a symbol modeled from paste and late baked to harden, something the artist traditionally always carries in his pockets. He often gives versions to his family members and to special people he meets, giving away hundreds of talisman sculptures. Esson’s Ode to Talisman is an enlarged bronze version of this “resguardo,” a marker to his artistic legacy. Yusimy Lara is a Miami-based artist born in Havana, Cuba. Her artistic practices explore subjects related to natural phenomena, specifically its connection to humanity and all that is living. Using a combination of natural and manmade materials, Lara references synergistic interactions between living organisms and their environment. Often her sculptures reference environmental processes occurring over time, addressing erosion, decomposition, and sedimentation. Her amorphous constructions are commentaries on the way life has transformed our planet and how humanity has shaped the transfiguration of the natural world. Jon Pylypchuk is a multidisciplinary artist who works in painting, sculpture, installation, and video. Working with simple materials (such as fake fur, wood, fabric, sheet metal, beer cans, electric light bulbs, polyurethane foam, etc.), Pylypchuk reinterprets the collage and bricolage practices derived from Art Brut. Often his ‘creatures’ explore the frailty of human existence and social relationships. Untitled (Tony sock surrogates) are a series of bronze cast ghosts made from socks that belonged to a dear friend of the artist who passed away last summer; a humorous memento bringing a little lightness in the darkness. Alan Sonfist is known for his ecological artworks, featuring found organic or mineral materials and the natural landscape. He was part of a generation of artists whose works from the 1960s and 1970s incorporated natural elements or were sited in the landscape. Known as Earthworks, Land art, or Environmental art, these works intersected with a widespread public interest in ecology and environmental protection. Alan Sonfist’s Bronze Limb Rising Series from the ‘70s are castings of tree limbs translating fragile, natural materials into classical form. These works were conceived as monuments to the life and death of transient natural phenomena which need to be preserved or remembered.

Ajarb Bernard Ategwa

Sweet Flowers of Douala

May 2, 2021 - June 12, 2021
Fredric Snitzer Gallery is pleased to present Sweet Flowers of Douala, Ajarb Bernard Ategwa’s first solo exhibition in a US gallery. The exhibition consists of a new series of portrait-based paintings celebrating the women of Cameroon. This celebratory energy is evident not only in the individuality of each presented subject but in the use of brightly, fluorescent hues of the paintings and patterned motifs they are wearing. Ategwa offers a local perspective on modes of self-representation in Cameroon today, portraying the strength and individuality of each subject in his paintings. The use of portraiture is reminiscent of black and white studio portraiture popular across countries in post-independence Africa, as well as a contemporary selfie culture. The use of this “lens” marks ascendance, status, and abundance. Within this new series, there is also an apparent contrast between traditional and contemporary iconography. Each subject is dressed in either traditional garments or references more contemporary reinterpretations of African wax fabrics. Clothing holds importance within African society and the artist’s use of African wax fabrics within this new body of work showcases the impact and power these materials have. African wax fabrics are known for their ability to tell stories unapologetically through the use of bold designs, creative patterns, and bright colors. Often used as a type of non-verbal communication amongst its wearers, these textiles conveying certain messages or represent a specific culture connecting people to politics, religion, culture, and traditions. What is also visually evident are the paintings overall graphic quality. The artist’s use of bold lines to block out flat shapes and color to draw the viewer directly into the subject is an attribute to the artist’s background in billboard painting. In stark contrast to the artist's hardline execution, he introduces a new painterly watercolor element that holds back the portrait's full disclosure. Sweet Flowers of Douala expresses the energy of the West-Cameroonian artist and his surroundings by capturing the wealth and vitality of the people with whom the artist is surrounded.

Raul Cordero

The ABC of it

February 26, 2021 - April 17, 2021
Fredric Snitzer Gallery is pleased to announce, The ABC of it, Raúl Cordero’s first solo exhibition with the gallery. Cordero’s exhibition presents an ongoing investigation into his conceptual approach to painting – a combination of blurred images reduced from their initial information with layered texts that are rendered from a typography the artist has designed out of fragmented dots not easily read upon first glance. Cordero’s paintings, the mismatch between texts and images, resembles the constant state of distraction we live in: we look at something while thinking of something else at the same time. The main intention of this text, given its visual fragmentation, is to slow down the process of looking, disrupting the initial reading of the picture plane between layers of text and image. When broken down by images, Cordero shows us what he calls “the three ranges”: one, is a wide-open space (landscapes or general scenery); the second, gathers things and people we are surrounded by (objects light, shadows, portraits, interiors) and the third, is a metaphorized representation of the quantum reality (energy particles, vibration); that is, what we can’t see but only feel, what we and everything else is made of. These two elements, imagery and text, are two language systems invented by human civilization in order to record and spread information throughout history. These visual and textual languages have no translation or compatibility between them, both are used as a complement to another to serve humanity to create truths, inform, educate, or indoctrinate, among other functions. Cordero uses visual and verbal in a paradoxical way to displace their intended function as communication.

Ajarb Bernard Ategwa, Hernan Bas, Enrique Martinez Celaya, Raúl Cordero, Elena Dorfman, Tomás Esson, Ridley Howard, Kelley Johnson, María Martínez-Cañas, & Vickie Pierre


December 2, 2020 - January 16, 2021
Fredric Snitzer Gallery is pleased to announce, A9, a group exhibition in conjunction with Art Basel's OVR: Miami Beach recreating our intended Art Basel Miami Beach 2020 booth presentation. Staged in the main gallery, A9 showcases new works by a selection of our represented artists – Ajarb Bernard Ategwa, Hernan Bas, Enrique Martinez Celaya, Raúl Cordero, Elena Dorfman, Tomas Esson, Ridley Howard, Kelley Johnson, María Martínez-Cañas, and Vickie Pierre. This presentation showcases both new and established talent from the gallery’s roster offering a varied range of visual dialogues; each artist asserting their own unique identity and perspectives. Although we are disappointed this year’s art week festivities will not be the same, we understand the importance of the health, safety, and well-being of those who support us.* We are excited and delighted to be able to provide the experience in our gallery space and online through OVR: Miami.

Vickie Pierre

In My Mind, In My Head, I Wanted it to Happen

October 16, 2020 - November 21, 2020
Fredric Snitzer Gallery is pleased to announce, In My Mind, In My Head, I wanted it to Happen, Vickie Pierre’s first solo exhibition with the gallery. Pierre’s exhibition presents an ongoing investigation into explorations of self-identity, ethnicity, and spirituality. With references to her Haitian heritage, as well as the larger Caribbean culture and cultural mythologies throughout the world, Pierre considers and challenges feminine and historic tropes relative to contemporary cultural politics.

Rirkrit Tiravanija and Tomas Vu

Green Go Home

August 9, 2020 - September 19, 2020
Green Go Home is a collaborative project by Rirkrit Tiravanija and Tomas Vu. The story of “Green Go Home” is part myth and part folklore. It is also partially a misunderstanding, and, to some degree, an invention of the imagination. Nonetheless, it makes for a compelling story. The term gringo—commonly used in Latin America to describe a Western foreigner—has been assumed by many to have etymologically originated with the phrase “Green go home!” One story holds that during the Mexican-American War, American troops invaded and overwhelmed their opposition. At this time, according to legend, the American uniform frequently included green coats. Hence “Green go home!” There are, however, alternative explanations. One earlier instance of the use of gringo can be dated to a 1786 Castilian dictionary by Terreros y Pando. In that volume the term was used to describe foreigners whose particular accents prevented them from pronouncing Castilian words properly. Moreover, in Madrid especially, the word was used to describe a person of Irish descent. Detractors of the green coat theory have pointed out that U.S. troops wore blue during the Mexican Invasion, and therefore that myth of the phrase’s origin should be dismissed. In 1846, Roman Catholic Americans and recent immigrants—from Ireland and Germany—were sent by the U.S. government to participate in the Mexican-American War as fighting broke out. However, a combination of resentment over their treatment by Anglo-Protestant superiors, and a realization that they were fighting for a Protestant nation against a Catholic one, led many to switch sides. The song that they frequently sang, “Green Grow the Rushes, O,” serves as another potential origin to the term gringo. In Brazil, gringo is also thought to have been derived from the English words green and go, but with a different basis. Rather than originating from military interaction, this term came about from foreigners’ exploitation of nature. The provocation inherent in “Green Go Home,” is positioned against the subtle underlying subtext of U.S. interventions, and colonialist attitudes, towards its neighbors in Latin American from Mexico southwards: an antagonism that has cost many lives and much strife. In each installation, the meaning of the piece mutates. The characters and language are specific to the country in which the work is being shown, but more importantly, the people involved shape the piece. They help to print and install the works, as well as create meaning for the piece through their experiences and reflections. The imagery itself consists of portraits derived from Google searches with text supplied by Rirkrit on top. The presence of each character—from films to music to personalities of resistance—reveals itself to the viewer as addressing the condition of the graffiti text. The figures included vary from country to country, though some figures reappear, as they are, to me, at the crux of this discussion – Ted Kazynski, Alan Turing, Barbarella, Ana Mendieta. The grid holds up the statement and reinforces the layers of interpretation, readings, and misunderstandings. “Green Go Home” is meant to be a wall of resisters, and of resistance.

assume vivid astro focus

always vacationing among flamingos

April 18, 2020 - May 23, 2020

Kelley Johnson

Windows, Planes, Screens and Veils

January 24, 2020 - March 7, 2020

Rafael Rodriguez

Prototype No. 1: The possible and the actual

January 24, 2020 - March 7, 2020

Tomas Esson

Miami Flow II

December 1, 2019 - January 19, 2020

Rafael Domenech

Paradoxically Tied: A Landscape of Permissions

October 11, 2019 - November 16, 2019

Alexander Kroll

Moon People

September 6, 2019 - October 5, 2019

Erika Malzoni


May 10, 2019 - June 22, 2019

Hiejin Yoo

The Recovery of Openness, Intimacy, and Trust

May 10, 2019 - June 22, 2019

Rafael Domenech + Ernesto Oroza

La mata (the perennial sprout)

March 2, 2019 - April 15, 2019

Jon Pylypchuk

i love you like a milkshake

March 2, 2019 - April 15, 2019

Alexandre Arrechea

Uninhabited Order

November 30, 2018 - January 12, 2019