Cuban Arts, Performance, Literature and Cultural Politics. Two Books. Coco Fusco. Rachel Price.

Dangerous Moves: Performance and Politics in Cuba | By Coco Fusco

In this exploration of performance and cultural politics in post-revolutionary Cuba, Fusco analyzes the dynamics between artists and the state, focusing on the ways that performance has served as a favored means of social commentary.

The study covers a range of performative practices in art, music, poetry and political activism. Fusco examines the relationship between the abject body in performance and the greater body politic of a state that defines itself as revolutionary but seeks to limit dissent.

Planet/Cuba: Art, Culture, and the Future of the Island.

By Rachel Price.

Transformations in Cuban art, literature and culture in the post-Fidel era

Cuba has been in a state of massive transformation over the past decade, with its historic resumption of diplomatic relations with the United States only the latest development. While the political leadership has changed direction, other forces have taken hold. The environment is under threat, and the culture feels the strain of new forms of consumption.

Planet/Cuba examines how art and literature have responded to a new moment, one both more globalized and less exceptional; more concerned with local quotidian worries than international alliances; more threatened by the depredations of planetary capitalism and climate change than by the vagaries of the nation’s government. Rachel Price examines a fascinating array of artists and writers who are tracing a new socio-cultural map of the island.

Coco Fusco—THE REVOLUTION IS DEAD—BUT LONG LIVES THE STATE!

Juan Carlos Cremata’s production of The King Exits, a play by Ionesco, was recently censored in Cuba.

Published on e-flux

On the eve of the restoration of diplomatic relations between Cuba and the United States after a half-century standoff, I paid a visit to the Solidarność Museum in Gdansk. The museum’s permanent exhibition is an encyclopedic display of documents, videos,artifacts, and photographs detailing the rise of the independent trade union in the adjacent shipyard, the repressive response of the Soviet and Polish authorities, and the spread of popular resistance that, we are to understand, led to the end ofCommunism in the East. Though Solidarność’s retreat from politics in the 1990s and Poland’s transformation into a neoliberal economy with an ever-widening gap between low wages and high prices are absent from the story told by the museum, I found it hard to feel cynical about the heroic tale of righteous workers who spearheaded a peaceful revolt against oppressive state authority.Who among the world’s downtrodden wouldn’t want what these workers asked for?

Solidarność’s original twenty-one demands read like a blueprint for a utopian society, a kind of socialism without fangs in which workers could organize, strike, and also get raises, where free speech was enshrined, affordable food and housing were guaranteed together with paid maternity leave, and the bosses’capacity to skew managerial policies in their favor was checked.

The workers’ demands not only inspired compatriot intellectuals to assist them but also opened the door to a radical art fringe—the Orange Alternative—that staged irreverent street performances in defiance of authoritarian rule.

While many Cuban intellectuals also hoped for a political transformation in the 1980s, the Caribbean island’s leadership managed to ward off the end of socialism by stepping up repression and blaming the US embargo for its financial woes, rather than its own inefficiencies and political miscalculations.The Cuban government responded to the withdrawal of Soviet subsidies by authorizing a few small businesses and decriminalizing hard-currency possession, which led to the return of farmers’ markets, the emergence of home-based restaurants and barber shops, and a steady increase in remittances from exiles. Nonetheless, in the early 1990s, as food and power shortages dominated daily life, the value of wages plummeted and a wave of censorship hit the cultural sector. Cuban professionalsand artists left in droves. At the height of Cuba’s post-Soviet crisis, mass emigration on makeshift rafts for those who had no invitation to travel abroad was cynically encouraged by the state. It was not until Hugo Chavez took power in Venezuela and began supplying cheap crude oil to the Castro government that the island’s economy stabilized.

Nowadays, Cuban dissidents supported by the Lech Walesa Institute Foundation travel to Poland and visit the Solidarność exhibit, consult with former leaders of Eastern European opposition movements, and enjoy high-speed internet access free of charge at the embassies of former socialist block countries.They look to Eastern Europe for models and methods. They swaptales about growing up with Russian cartoons and black-marketvendors, and about contending with secret police andimpenetrable bureaucracy. But the comparisons stop there.

Cuban socialism was not imposed by a foreign power, nor can its government be characterized as a Soviet puppet. As historian Lillian Guerra has shown in her masterful study Visions of Power inCuba: Revolution, Redemption and Resistance, 1959–1971, the majority of Cuban citizens willingly relinquished their civil rights in the early stages of the revolution, believing that this was necessary to safeguard the country from foreign-backed threats to national security. The grand narrative about an underdog standing up to a foreign oppressor belongs to the Cuban government, with its anti-imperialist rhetoric and its invectives against the US embargo.While the middle and upper classes that fled to Miami are famous for their anti-Communism, the nationalist bent of the Cuban revolution and its dependence on a single charismatic leader who set policy via televised decree for fifteen years before approving a constitution made the tropical version of socialism quite different from any other.

Cuban dissidents are not trade unionists—they are intellectuals and professionals, many of whom fell out with the regime, and in some cases they are family members of political prisoners. The main audience for their muckraking remains outside the country and their attempts to intervene in Cuban public life are met with harsh responses from police and vituperative media campaigns instate media that dismiss them as mercenaries. No opposition group boasts membership as large as Solidarność once had—only one broad-based effort to bring about constitutional reform took root in Cuba in the 1990s and its leaders were soon imprisoned; its founder, Oswaldo Payá, died in a mysterious car accident in 2012.The common adage among Cuba’s critics is that the only way citizens can truly express their political will is by leaving the country.

Revolutionary rhetoric aside, Cuba’s economy is closer to state capitalism than centralized state socialism. The country’s public sector has been shrinking since the Soviet Union withdrew subsidies in the 1990s, while joint enterprise with SouthAmerican, Canadian, and European companies has grown. Privatization in the economic sector, however, has not been coupled with political liberalization, a point that is often made by critics of the Obama Administration’s new policy. There are many reasons why Washington may actually prefer to keep the current regime in power in Cuba. Unlike Eastern Europe, which enjoyed broad support from cold warriors in the US and Western Europe for its popular opposition to Soviet-style governance, Cuba operates in a post–Arab Spring geopolitical arena. Western powers are wary of popular uprisings and destabilized authoritarian states, which may explain why the Obama Administration appears so keen to negotiate with the Cuban regime instead of seeking to topple it. Indeed, despite the widespread belief that Cuba’s transition is imminent, the main player in the process is the current leadership, not the opposition. What is changing then is US-Cuba policy, not the Cuban government. Human rights are a bargaining chip, not a game changer in the discussion. Cuban dissidents may have racked up human-rights awards in Europe and they may enjoy photo ops with American politicians, but they do not command a mass following inside the country. Nor are they being groomed for future leadership. The Cuban government knows that it has the upper hand. Many Cuban dissidents have expressed anger and a sense of betrayal because realpolitik is not what they expected from Washington.

Since the December 17, 2014 announcement of a rapprochement between the US and Cuba, the political discussion in English has centered on who is perceived to have the upper hand in the negotiations. Unfortunately, the lack of nuance in most English-language reportage has encouraged many to confuse the announcement of renewed diplomatic ties with the termination of the US trade embargo, which it is not. Promised changes for Cubans, such as the expansion of internet services and the termination of a dual currency system in which most salaries are paid in worthless non-convertible pesos, have yet to materialize. But changes in the ways that Cubans see and speak about themselves have been taking place over the past decade.

Thanks to the development of citizen journalism on the island, Spanish-language media coverage offers more detailed and more critical accounts of the Cuban political apparatus and the country’s social ills, it's crumbling infrastructure, and its invasive policing practices. An expanding blogosphere led by a young generation of tech-savvy writers and activists has provided readers outside Cuba unprecedented access to social commentary from unauthorized sources and has facilitated public debate between island-based commentators and exiled intellectuals.While dissident musicians, writers, and indie filmmakers lash out publicly against the Cuban government, the artists who benefit from the support of the state’s cultural apparatus for the most part have stayed out of political debates. One notable exception to this pattern is the controversial but highly regarded film and theater director Juan Carlos Cremata, whose recent dramatic production of Eugène Ionesco’s Exit the King was shut down by authorities after one weekend on the boards. Apparently, a play about a four-hundred-year-old king whose kingdom is crumbling was too dangerously close to Cuban reality for their liking.

Cremata responded to the censorship by immediately publishing a scathing critique of state power in relation to the arts sector on numerous opposition blogs, and even granted an interview to Radio Martí in Miami. Visual artists are generally not so bold.They were among the first cultural producers in Cuba to be able to earn in hard currency and to negotiate independently with foreign entities; many enjoy a lifestyle that is envied by most Cubans. The beneficiaries of such privileges take a pragmatic approach to engaging both with the Cuban state and the global art market. Indeed, most of Cuba’s artists share their government’s desire for greater access to the global marketplace and its reticence to discuss human rights. Those who speak out about restrictions on speech, movement, and political conduct have either always been marginalized, or have fallen out of favor and have less to lose.Culture in today’s Cuba is a profitable business and complaining about civil rights is tantamount to being a wet blanket at a wild party. American collectors, who are flocking to the island in search of bargains, are happy to find a cadre of smart young artists poised and ready for business and seemingly uninterested inpolitics.

The Obama Administration has just removed Cuba from its state-sponsored terrorism list, giving the island greater access toforeign trade. Washington has also taken other measures that increase capital flow to the island, easing the economic pressure that failed to bring about systemic collapse or regime change. Up to now the Cuban government has only agreed to the original prisoner swap and the reopening of embassies. It maintains its longstanding demands for the return of the Guantánamo base, the lifting of the embargo, and the termination of US-based pro-democracy programs. While the American media sings Cuba’s praises as a tropical paradise full of sunny beaches, colonial architecture, vintage cars, and skilled-but-low-paid workers, Raúl Castro insists regularly on Cuban television that the socialist character of the Cuban state is not up for negotiation. Cuban dissident groups prepare their proposals for new civil rights legislation and demand a referendum, but Washington does not appear to be pressuring Cuba on these issues. The rate of detentions of dissidents and activists on the island has not gone down as negotiations progress. Old-guard exiled conservatives grumble about the rapprochement, sensing their loss of decision-making power over US-Cuba policy, but a younger generation of Ivy League–educated Cuban-American neoliberals has aligned itself with the Obama Administration, trying to be first in line to invest in the Cuban economy if and when the embargo is lifted. Cubans on the island appear split between those who are trying to open small businesses and join the ranks of the island’s nouveau riche, and those who are figuring out ways to emigrate before the Cuban Adjustment Act, which grants Cubans who set foot on US soil automatic refugee status, becomes a thing of the past. Rates of immigration in the past five years have been higher than during any other period since the onset of the revolution. Those most vulnerable are the elderly subsisting on pensions, an increasingly large sector of a country with a very low birthrate and a high incidence of migration.

Among the growing number of art-world itinerants who visit Cuba, there are many who are still in love with an idea of what the revolution was, or whose critical views of US policy lead them to downplay the significance of the problems with the Cuban economy and the repressive excesses of the state. There are also many global art-market players who turn a blind eye to Cuba’spolitical apparatus just in the same way that they overlook the undemocratic character of the governments in China, the GulfStates, and Russia so as to keep their art business unsullied by political fracases. The Cuban cultural ministry has banked on this combination of economic rationalism and political naïveté for decades. The seductive power of a tattered ideology draws cultural tourism, while the market-oriented pragmatism of most art-world cognoscenti helps the Cuban cultural apparatus to promote its favored artists abroad and secure financial support that substitutes for dwindling state subsidies. Unlike Cuban athletes and dancers who leave the country in search of better pay and working conditions, Cuban artists fare better financially when they keep the island as their home base, enacting a drama of national belonging for a foreign audience. Even those who work outside Cuba as much as possible rush back “home” when the Havana Biennial takes place. In recent years, several artists who went into exile in the eighties and nineties have returned with state approval in order to benefit from the media attention and marketing effort of the biennial as well.

It is against this backdrop that the recent confrontation between artist Tania Bruguera and the Cuban government is best understood. Her thwarted attempts to perform in Havana’s Revolutionary Plaza coupled with her highly successful international media campaign to publicize her treatment at the hands of Cuban authorities have complicated the international celebration of the US-Cuba rapprochement by foregrounding the ways in which the Cuban state, which goes to great lengths to present itself to the world as an enabling cultural force, simultaneously functions as a repressive agent. Bruguera’s notoriety turned an otherwise routine exercise of state control over a heavily policed public space into a political melodrama about artistic freedom in a country where no one has the right to express themselves freely and where the policing of public conduct is simply not news. The ruckus in social media outside Cuba contrasted with the virtual public silence of the Cuban art community on the matter. State officials questioned not only her loyalty but also her status as a Cuban given the fact that she has lived abroad for many years. In response, Bruguera dug in her heels by insisting that she has always wanted to work in Cuba, even as she maintains residence in New York; teaches in France; and though her projects in recent years have focused on immigrants in the US, religious visions in Italy, and cocaine trafficking in Colombia. It appears that the case against Bruguera has been dropped as of this writing. Her passport, which had been held for six months by Cuban authorities, has been returned.

While Bruguera was held up in Cuba by authorities, she won a major cash award in the US, sold a work to MoMA, and was appointed artist in residence for the NYC Mayor’s office of Immigrant Affairs—benefits that have not gone unnoticed by her compatriots.

The international attention to Bruguera’s case no doubt shieldedher from the harsher treatment that opponents of the Cuban government routinely receive—her detentions were brief and physical mistreatment was minimal. Writer Angel Santiesteban was just released under terms of “conditional liberty” after serving a two-year imprisonment on what many believe are trumped-up charges.

Street artist Danilo Maldonado Machado (aka El Sexto) has been imprisoned awaiting trial for over six months. Several other political prisoners are serving sentences for producing political graffiti against the Cuban government, but their marks are not considered art. When Cuban human-rights activists have been beaten, arrested, given lengthy sentences for nonviolent offenses, or died on hunger strikes, news rarely appears inEnglish-language media and no one in the international art world jumps on a soapbox or signs a petition. Despite the good intentions of those in the art world who created a media storm around Bruguera’s case, the discussion never progressed beyond naive outrage at her having been censored, as if this were not standard practice in Cuba, and as if freedom of speech were never subject to limits in any part of the world. Commentary has been focused singularly on her situation as an artist whose freedom to create was curtailed, rather than considering the political question of how and why Cuba controls the public speech and public acts of its entire population via intimidation, brute force, and the rewarding of complicity. That failure to address the political dimension of artistic expression reveals the economic underpinning of the cries for freedom—in other words, what the global art world seeks is for its famous artists to be “free” to travel and peddle their wares, not for people in general to express their opinions.

The absence of a more analytical international discussion of civil rights in Cuba beyond the Cuban diaspora is also what enables the Cuban government and its supporters to discount Bruguera as a self-serving gadfly and reassert its authority. Cuban artists who cooperate with the system do not broach the subject as part of a tacit agreement that allows them to function professionally. Exiled intellectuals and dissident journalists do address these matters regularly, but foreigners interested in new economic prospects in Cuba ignore that discussion. Romantic Cuba-philes dismiss these concerns when they assume that the very existence of art on the island is evidence in itself of freedom. Insisting that “engagement”is the key to political change, many members of the global cultural elite forget that the Cuban government has been expert at cultivating and controlling its fellow travellers since 1959, and that those who deviate from an unquestioning support for the political order lose their status and access to power.

In the months between Bruguera’s first detention and the 2015 Havana Biennial, I was approached by numerous journalists who wanted quotes but did not want to consider the limits on speech for Cubans other than the artist they already knew. I was also approached by artists who felt torn between their desire to“commune with Cuba” and their sympathy for Bruguera. Not one of them wanted to discuss what Cuban laws govern acceptable public speech or behavior, or to consider what the current negotiations between the US and Cuba may actually result in for those who live in Cuba or for hundreds of thousands of Cubans dispersed throughout the world who have never worked for the CIA and do not advocate violent overthrow of the regime, but whose salient criticisms of the Cuban revolution are grounded in grim experiences of its darker side. The art-world globetrotters who have just “discovered” Cuba—yet again—are caught between two dreams: one in which artists are thought to be freer than the rest of humanity, and another in which Cuba and its revolution persist as a fantasy about a bearded, longwinded leader who liberated a third-world country from poverty and capitalism.

One way out of this impasse is to take a break from the media spectacle about Cuba as the hottest new destination and listen to poetic and political commentary on the current situation by Cubans themselves. In the coming months, a special issue of e-flux journal will publish translations of poems, letters, essays, and fiction by Cubans who think deeply, ironically, and sometimes hopefully about their country, wherever they may reside. To launch this effort, we’ve offered a poem by writer and political activist Orlando Luis Pardo Lazo about the psychological effects of living with a larger-than-life leader for more than five decades.

Published on e-flux

Coco Fusco (Artivist, Scholar and Performer) about the impact of Art Basel on Miami's Visual Arts Scene

THE BEACHHEAD OF THE GLOBAL SOUTH. Coco Fusco

Originally published by The Miami Rail



Coco Fusco, And the Sea Will Talk to You, 2012. Installation view at the Next Wave Festival, Brooklyn Academy of Music. Photo: Nate Betts.

Much has been said about the ways that Art Basel has transformed Miami’s relationship to the international art world. Once a year in December, when it’s cold and gray in New York, London, and Berlin, the art jet set congregates in the waterfront hotels of South Beach to buy art, talk shop, cut deals, and party hard. Over the last 12 years, the number of fairs has grown from one to around 20, attendance numbers have reached six figures and the cash injection into the local economy is now estimated at over $500 million a year. The media hype stresses the benefits of high-profile culture, which, like it or not, spurs gentrification on the one hand, and public and private investment in local cultural institutions on the other.

The positive spin on these fairs’ ultra-chic blend of high art and high-flying nightlife has coaxed South Florida’s art patricians to open their doors to the public. Being on display before the eyes of the global art world has prompted local art collectors to invest a bit more in the local art scene and upped the ante for local art organizations. Miami-Dade County’s Art in Public Places has justly garnered national recognition for its innovative commissions. Artist-run spaces and artists’ residencies have multiplied and become more entrepreneurial. Media coverage of the arts has also expanded; the birth of the Miami Rail marked a key turning point, offering the most exhaustive coverage of Miami’s art scene that it has ever had. The city that has long been a key destination for immigrants from the Caribbean and Latin America, as well as sun-worshippers from the North, has become a desirable place for visiting artists seeking respite from the cold and a foothold in a burgeoning market. The lingering questioning for me is how this all affects the artists who live in Miami year round.

I am no great lover of art fairs—I don’t see them as really being designed for artists. Nonetheless, in the past three years I’ve been impressed on my visits in December to see so many regular folks coming out to look at contemporary art. Art fairs in New York and Europe don’t usually make significant overtures to the general public; tourists looking for culture in New York or Europe are more likely to head for a museum. Miami, on the other hand, has embraced Art Basel as a must-see blockbuster event. I would like to believe that this is a sign of a broader rapprochement between local communities in Miami and the institutions and elites that call the shots in the world of art. Not too long ago, artists in Miami, particularly those who hailed from the Global South, had a tough time in every way: the local market was weak, the scene lacked verve, and there seemed to be no way to project oneself professionally using Miami as a base. Displaying an attitude that was once typical of regional arts institutions, Miami’s museums showed little interest in the work of local artists, favoring traveling shows that featured art stars from New York and Europe.

The result of that disconnect between affluent collectors who keep vacation homes in South Florida, far-sighted museums that couldn’t see the art that was just outside their doors, and local artists was that the ambitious generally left town as soon as they could. The Cuban artists who immigrated to Miami during the 1980s and 1990s used to complain to me that buyers dropping in at galleries in Coral Gables wanted paintings in colors that would match their furniture. Sadly, the city’s dearth of economic opportunities and the absence of a broad cultural vision stymied the careers of more than a few immigrant artists who have tried to set up shop in Miami.

In 1994, on the occasion of the acquisition of one of the works of Cuban artist José Bedia by the Rubells, I was invited to Miami to speak at a public event and interpret for the artist. I remember being stunned to find that his was the first Latin American work that had been purchased for the collection. How could a place reborn in the postmodern era as a pan-Latin, pan-Caribbean hub and a key player in hemispheric political affairs still have an elite that chose to ignore their town’s new status as the beachhead of the Global South? So when the Miami Rail invited me to come down for a visit without the art fair noise in the background, I saw it as an opportunity to take a closer look and engage in dialogue with members of the local arts community to get a sense of whether Miami’s changing cultural landscape was affecting them for better or for worse.

I arrived in the midst of a political dispute at the Museum of Contemporary Art, North Miami (MOCA) over whose interests should prevail at this public institution: those of the local, working class, mostly Haitian population or those of the elite board members who sought to use city monies to expand the museum and create more space for an art collection that consists largely of works they have donated. The local citizens’ decision to reject the board’s bond proposal to expand the museum, the board’s plans to transfer the museum’s collection to the much more tony Bass Museum, and the bizarre duel between a board-appointed and a city-appointed new director—both of whom are claiming to be the legitimate institutional leader—are tell-tale signs that longstanding divisions between Miami-Dade County’s various social sectors have not yet been resolved. What is interesting to me about this battle is that the Haitian community and its political representatives were ready to publicly oppose a culture elite that operates as if its idea of what was right for art was all that mattered. Long gone are the days in America when immigrant communities quietly submitted to whatever the established power structure mandated: Miami’s newer communities clearly see themselves as stakeholders in the city’s cultural life. On that note, I was particularly heartened to learn that the Pérez Art Museum Miami has embraced a curatorial vision for the institution that focused on the Caribbean and Latin America, which not only enables them to take advantage of a permanent collection of Latin American art and many prominent local collections of the same, but also acknowledges Miami’s hemispheric position and the city’s changing demographic.

Political clashes may have been in the air but local artists showed little interest in flexing their political muscles. None of the artists I spoke to during my visit mentioned the MOCA controversy during a group discussion about media coverage of the Miami art scene, even though news of the debacle was all over the national press. Only one artist I talked to during my trip mentioned that the conflicts surrounding the Miami Art Museum’s 2011 decision to change its name to the Pérez Art Museum Miami were an open wound that he and his peers sought to stay away from. On a more positive note, none of the artists I spoke to expressed a sense of their being marginalized on the basis of their cultural identity—a far cry from what I used to hear 20 years ago.



José Bedia, Naufragios, 1996. Installation view. Photo courtesy the Rubell Family Collection.


I sensed a certain wariness about getting embroiled in political matters, a fairly strong desire among many artists to remain in good graces with the powers that be, and a general perception that media recognition and sale of their art was the top, if not the sole priority. Artists responded to my questions about the relationship between the local media and the arts community as a matter of whether there were sufficient reviews of art shows. When I ventured commentary about how soft journalism’s personal interest stories about individual artists and emergent trends, together with the more strident voices of art bloggers who often break news and challenge social taboos, can invigorate an art scene and empower artists, I got the sense from the responses that more direct engagement with media seemed too complicated and labor intensive. Several lamented the lack of a full time art critic at the Miami Herald, as if the appointment of a single person would transform arts coverage and serve their interests. I was quite open in my skepticism about this proposal. Giving one critic total power to cover an entire arts milieu could easily do more damage than good. Other artists acknowledged that the range of coverage had broadened significantly in the past decade, that art magazines such asArtNexus had established offices in Miami, and the Rail’s expansive coverage was a boon to the local scene. But the idea of getting involved in writing or publishing, on or offline, didn’t seem very attractive to many, although a couple of the younger artists I met had explored creatively manipulative uses of PR to create performances.

Perhaps the reluctance of artists to imagine themselves as political actors in the Miami art scene is due the media’s characterization of political matters in the cultural sphere as ugly fights between rivals rather than crucial power struggles that are key to redefining the cultural character of the city. Who wants to see themselves as permanently engaged in public brawls? It may also be that the relatively recent expansion of support for local artists (including a steadily growing local market) after a long period of extremely limited possibilities could be contributing to artists’ hesitance. But artists don’t always win by playing nice and accepting whatever comes their way, or by expecting others to explain what they do and why their work should be valued. Critics cannot always be relied upon to understand the new, nor do collectors and curators invariably embrace the unknown—and, these decision makers are famous for being fickle. Artists aren’t just object makers. We are also each other’s first audience, the toughest and most incisive critics, and the most significant mentors. If we don’t protect our status as cultural and creative beings, we can easily become tools for someone else’s vision or agenda, or never reap the benefits of our efforts. Individual and collective advocacy by artists has historically been instrumental in the development of intellectual property and resale rights for visual artists, and it has helped to shape a more open dialogue between art institutions and practicing artists as more and more venues collect and showcase contemporary art. Artists have frequently stepped up and launched publications to give voice to their views, particularly in times and places where other arts professionals are either absent or uninterested. Eventually, others come around if artists make enough noise. All these activities are valuable political contributions that create and sustain culture as much as any studio practice.

The local creatives behind Miami’s smaller, artist-run galleries and multi-service cultural organizations are the ones who are most clearly committed to a holistic approach to making an art scene happen. It was a real pleasure for me to walk into so many cultural spaces in Miami with young artists at the helm who were clearly enjoying themselves and drawing significant crowds to their activities. Dimensions Variable, Locust Projects, and Cannonball—just to name a few—are making truly important and lasting contributions to contemporary artistic culture in Miami, not only by hosting exhibitions that feature works by local artists and curators and bringing local artists into contact with visiting artists from abroad, but by enacting cultural models in which artists are the decision makers at every stage. These are places where artists can come together to share and assess what is valuable to them, rather than using the market or the art fair as the measure of all worth. It’s important to have a sense of what artists care about as something distinct from the price tag that is placed on the things they make.

I heard quite a few people express concern about the imminent end of cheap rents and the prospect of being displaced by real estate developers who always get chummy when they want artists to make neighborhoods attractive then dump them when they can make more money off of others. That cycle is all too familiar to artists all over the world, and the only way to stave off evictions is by investing in property, which is usually impossibly expensive for fledgling organizations. It might be worthwhile to look at models in other cities: statutes that have been created for subsidized artists’ housing and work spaces and new initiatives emerging in New York and elsewhere in which entire buildings are being converted into low-cost live work spaces for artists, available for purchase with extended payment plans. These sorts of options only become viable realities when artists band together and organize to bring them into being. So it seems like a next step for Miami’s local arts community may involve thinking beyond short-term residencies and cheap studio rentals to imagine how more artists and arts organization can have a stake in real estate.

A final note in closing my comments on a thoroughly enjoyable visit: the issue that came up again and again in my discussions in Miami was the absence of a high quality MFA visual arts program in Miami-Dade County. Artists who have taught locally pointed out that the best and brightest high school students from the city’s art-focused high schools are courted by top-tier art colleges outside Florida, and they leave because local options are simply not as exciting. Unfortunately, the presence of Art Basel has not had much of an effect on existing college level programs in the Miami area. Everyone I met recognized that high-profile advanced art programs inject conceptual rigor into local cultural production and also into local art discourse. They raise the level of discussion by bringing good students, challenging teachers and prominent visitors together on a regular basis. While it is notable that local art collector Rosa de la Cruz has underwritten trips to Europe for students from the New World School of the Arts, there is still much work to be done in Miami to create the kind of advanced art education that adds gravitas to an arts community. Artists in Miami should keep in mind that in a global art market where supply exceeds demand, there is little incentive for collectors or gallerists to invest in improving the local production line. Those artists who see a need for more and better art schools in South Florida will have to assume a leadership role in making them happen.

Coco Fusco visited as part of the Miami Rail’s Visiting Writer Program, which is supported by the John S. and James L. Knight Foundation.