A very cursory googling of “critiquing children’s art” generates a list of boorish sites such as I Am Better Than Your Kids and Art Critiquing the Life Out of Your Kids, such that could only be the work of dumb, desperate adults.

It seems flight is on Miami’s mind: there’s the history of flight in our summer issue, last night’s Curious Vault Collaboration detailed below, and Michael Namkung’s upcoming show Flying Towards the Ground at Locust Projects in August. Something in the air, perhaps?

“The uneducated use of acrylic…is a disaster,” said Charles Hollis Jones.

Tseng Kwong Chi was a prolific photographer who captured and participated in the downtown Manhattan art and club scene of the 1980s. He left behind an enduring archive of images of those well known artists, including Keith Haring, Andy Warhol, Jean-Michel Basquiat, and the many lesser knowns who made up that particular moment in art-historical time. Though most known for this documentarian work, vastly more compelling is the oeuvre of surreal political portraitures of himself.

I saw a sound check version of Martine Syms’s Nite Life, which seems fitting for a work that investigates a raw club recording made in Miami in 1963 by Sam Cooke that wasn’t released until decades after his death. I heard a few comments after the actual performance that mostly dealt with the discussion about which category the work might fall under: is it an artwork? Is it merely a lecture? From where does its merit come? Increasingly, we see artists or cultural producers creating work that exists between boundaries.

About his upcoming Takeover Tour of the Wolfsonian-FIU, the noise musician Rat Bastard quipped, “I’m going to come off like a guy talking to himself to the people attending this event.”

At Miami Dade College’s Museum of Art and Design—which is housed in the iconic Freedom Tower—artist Odalis Valdiviesco has a show of work titled Arrhythmic Suite. A series of about 70 paintings, photographs, and photocopies, they hang along a linear, horizontal line around the room, and on some of the 9 rectangular pillars in the middle of it.

A functional aesthetics is necessitated, in part, by climate. For hot climes, shorts and chancletas adorn the human form, and slits, slats, and holes dress the built ones.