Cristina García Rodero, a Magnum photographer and winner of the W. Eugene Smith Prize in 1989, is one of the great photojournalists—an artist/explorer who uses the camera’s democratic potential to reveal the hidden workings of the world, or to cast the visible in a new light. She has long been concerned with ritual, that physical manifestation of belief, and has such documented many facets of contemporary spirituality, be it a body of work about Spanish cults, or one about Burning Man.

Into the Rainbow Vein, the debut solo exhibition of Magnus Sodamin, features a series of paintings monumental and psychedelic. Reaching up to 15 feet in height, they appear on the barren floating walls of Primary Project’s new space like totems from a gigantic pipedream. The bright and varied palette that Sodamin brings to these compositions—acrylic mainly, and house paint—ramrods the eye, creating a retinal buzz that seeps into the inner ear. An impressive debut, but with paintings this big, how could it not be?

Here, Guillaume Désanges, who was PAMM’s first Researcher-in-Residence, teamed up with the Barcelona-based Dora García to create a temporary curatorial experiment, “an exhibition, or a diagram for an exhibition, something between the actual show, its catalogue, and its working notes.” At least that’s how the wall text has it.

A few nights before opening night, Alan Gutierrez took me to Locust Projects storage room to mix up a batch of his newly invented Locustinis. The drink depends on LP’s drink sponsors at the time. On that cool January evening, it was a creamy brown swamp of Vita Coco coconut water, Tito’s vodka, and iced tea.

When you visit Bogotá, they tell you to go to the Gold Museum. They tell you to go to the Botero Museum, which is around the corner and shares a courtyard with the Museo del Banco de la República. They tell you to take the funicular up to the church on Monserrate, but you mustn’t move too quickly, because the city itself is 8,661 feet above sea level; in the mountains it’s over 10,000. Yes, many suffer from altitude sickness, which shares its symptoms with the flu, carbon monoxide poisoning, or hangover. While you’re here, you need to drink aguardiente, you need to eat chicharrón, have you visited the Gold Museum? Oh, and don’t get into a cab, or you’ll be kidnapped.

In this intimate exhibition of California-based Catherine Czacki and April Street, sculptures and wall-hangings are connected by their common link to the human body, albeit not in a literal sense. In each, the body is an inferred presence and deferred absence. The artists highlight how things are never simply objects, which leads the viewers/lives to begin an analysis of the place of objects in their own life.

Manuela Moscoso is an independent curator living in Rio de Janeiro. Together with Sarah Demeuse she runs the curatorial office Rivet. Here, The Miami Rail asked SculptureCenter Curator Ruba Katrib to speak to her about conditions surrounding curating in South America.

Ali Baba Avenue crisscrosses Sinbad Avenue around the corner from Aladdin and Sesame Streets. Marketers shortened the Seminole name of the area, Opa-tisha-wocka-locka, to an appellation heard as vaguely eastern sounding to those buying and selling exotic make-believe. Similarly concerned that prospects crossing Scheherazade Street might stumble over too many letters, they convinced Curtiss to name it Sharazad Blvd.

Tracey Emin’s career and life are inextricably conjoined. Her installations, sculptures, drawings and notorious neons from the last two decades are unmediated, honest accounts of her own life. Writing, in many forms, is central to her work and often appears as her own handwriting, the immediacy of which is captured and made permanent in her neons. These are the focus of her solo exhibition Angel Without You (December 4,2013 – March 9, 2014) at the Museum of Contemporary Art, North Miami.

The Miami Rail asked artist and frequent contributor Nicolas Lobo to speak to McKenzie Wark. He teaches at the New School and has published several books including Gamer Theory, The Beach Beneath the Street and most recently, The Spectacle of Disintegration. Here, they discuss the military, technology, and videogames.