Nevertheless, Miami like L.A. or New York or any other city with a large immigrant community, possesses certain dynamics that helps define what that city is. 10 Floridians did not necessarily attempt to stretch the perspective of what it means to be living in Florida, which might have been appropriate, being as that all except two of the artists were actually from Miami. In this exhibit, the task of exploring any myriad of politically charged topics was rightly left in the hands of the artists. Perhaps the collective curatorial vision was also playing it on the safe-side by inaugurating a new space with a group of artists already well established and exhibited in Miami? One wonders what the MAC's contribution will be to South Florida. It'll be interesting to watch.

Perhaps these questions come to mind because of the timing of the opening, no doubt benefiting from the international art contingency visiting Miami that week. There was an undeniable overlap between artists presented at affiliated museum exhibitions, like the MAC and those exhibited front and center in commercial galleries at the fair. For example, the 10 Floridians show featured José Bedia who also had a huge publicly commissioned mural in the Design District and whose omnipresence was echoed by no less than four galleries at the fair. Such marketing is understandable. Bedia is a hot commodity and gallerists were paying between $10-50,000 per booth so you would expect everyone working all the angles to maximize on profits -- as they say, repetition is the key to a lucrative commercial venture.