Fred Wilson is renowned for his interdisciplinary practice that challenges assumptions of history, culture, race, and conventions of display. By reframing objects and cultural symbols, he alters traditional interpretations, encouraging viewers to reconsider social and historical narratives.
Wilson’s early work was directed at marginalized histories, exploring how models of categorization, collecting, and display exemplify fraught ideologies and power relations inscribed into the fabric of institutions. His groundbreaking and historically significant exhibition Mining the Museum (1992) at the Maryland Historical Society, radically altered the landscape of museum exhibition narratives. As interventions, or “mining,” of the museum’s archive, Wilson re-presented its materials to make visible hidden structures built into the museum system, and American Society as a whole.
At the onset of the twenty-first century, Wilson began to place more focus on his object-based work. In collaboration with the prominent American glass blower Dante Marioni, he began producing his first glass artworks in 2001—ambiguous black-colored forms that assert a multifaceted political undercurrent. “The color black represents African American people because it’s been placed on us as a representation,” Wilson says. “Of course, the color black—the absence of light—really has nothing to do with African Americans. But there’s a whole other layer of meaning.”
Wilson continued his exploration of glass with Speak of Me As I Am, his exhibition for the United States pavilion at the 2003 Venice Biennale. Much of this work developed from Wilson’s observation that numerous Venetian history paintings contained black figures, though he had difficulty locating them in written histories. Wilson began a relationship with the Murano glass company, located on the Venetian island of the same name, and created chandeliers and mirrors in a traditional Venetian style embellished with black glass.
Fred Wilson’s body of work encompasses sculpture, painting, photography, collage, printmaking, and installation. He is internationally lauded for his conceptual practice that subverts perception, revealing the undercurrents of historical discourse, ownership, and privilege normalized by institutional practices.
Fred Wilson
December 2026
Amanda Atria
February 2027
Amanda Atria (born in Santiago, Chile, 1995) is a contemporary visual artist based in New Haven, Connecticut. She earned her BFA from the Pontificia Universidad Católica de Chile and completed her Master of Fine Arts (MFA) in Sculpture at the Yale School of Art.
Her work investigates the historical, industrial, and social frameworks of everyday objects. Atria weaves "outdated techniques" with "semi-industrial materials" to expose the realities of human labor and mass production.
Group Exhibtion
April 2027
Something is assembling just out of view, a set of gestures not yet resolved into a fixed shape. It moves between hands and surfaces, accumulating traces, edits, and quiet refusals without announcing its terms. What arrives will carry its own internal logic, felt before it is fully understood, holding together even where it seems to slip. It will be here soon, though not all at once.
Little River
Summer Residency
June 7 - August 1, 2027
Rooted in a commitment to amplifying new voices in contemporary art, our eight-week residency offers artists an opportunity to explore Miami’s distinctive subtropical environment. Hosted in PRIMARY’s 5,500 sq. ft. live/work space in Little River, the program fosters an atmosphere of focused studio practice, research, and creative development. Residents are invited to immerse themselves in Miami’s vibrant cultural landscape, discovering inspiration through exploration and connection.
Dustin Emory
September 2027
Dustin Emory (b. 1999, Atlanta, Georgia) lives and works in Atlanta, Georgia. Recent solo exhibitions include Mourning Sun, Margot Samel, New York, NY (2025); Mourning Sun, Fredericks & Freiser, New York, NY (2025); Days Before Remembering, Primary, Miami, FL (2023); Limbo, Long Story Short, Paris, France (2023); and Light Source, Ojiri Gallery, London, England (2022). Group exhibitions include Blank Space, Primary, Miami, FL (2024); Not Invited, Ojiri Gallery, London, England (2024); 4 artists, Fredericks & Freiser, New York, NY (2024); Double Take, LVH Art, London, England (2024); OMGWTF, Primary, Miami, FL (2023) Summer Mix Vol.1, Tuesday to Friday, Valencia, Spain (2023) Sizzlin Summer, Gr Gallery, New York, NY Double Trouble, Long Story Short, Paris, France (2022); Equilibrium, FreeMarket, Atlanta, GA (2021); Paper Trail, ABV Gallery, Atlanta, GA, (2020); One by One, ABV Gallery, Atlanta, GA (2020); and 20 Somethings, DK Gallery, Marietta, GA (2020). Emory’s works are in the public collections of High Museum, Atlanta, GA; X Museum, Beijing, China; and MAP, Miami, FL.
Genesis Moreno
October 2027
Genesis Moreno (b. 1991, Illinois) is a Miami-based textile artist who turns quilting into a language of vulnerability and self expression. Working through a feminist lens, she stitches together themes of trauma, mental health, and obsessive care, transforming familiar fabrics into charged objects. Her quilts resist being seen only as comfort or ornament; instead, they ask the viewer to sit with discomfort, memory, and emotion.
Genesis received a Bachelors of Fine Arts from the School of the Art Institute of Chicago in 2017 on a Merit Scholarship. Her recent exhibitions include “Chewing the Cud” at Tunnel, Miami, FL, “Everything Ends Eventually” at Latchkey Gallery in New York City, "Blurred Lines: An Intersection of Art and Design” at Edgezones Gallery in Miami and “Thinking Matter” at Ear Ear Projects in Munich, Germany, “that which frightens us” at Primary, Miami, FL, and “Sites of the Self” curated by René Morales at Oolite Arts , Miami, FL. She has also participated in the Woodstock Byrdcliffe Guild Residency in Woodstock, NY.
