In one of his most renowned books, Jorge
Luis Borges describes a moment in which the
protagonist confronts the innite, an object
known as the Aleph, which is nothing more
than a point in the universe (microcosm) that
contains all points of the universe
(macrocosm). The Argentine author attempts
to describe what this circumference has
revealed to him, but the words seem chaotic
and disconnected. The narrative can only
represent one thing at a time: a succession of
events, completely diluting the possibility of
approaching the principle of simultaneity.

Galería Azur has also been engaged in
critically discussing the idea of a conventional
space of representation since the start of its
trajectory, in terms of the materialization of
ideas, whether it be in a physical space, a
political and temporal perspective or through
reductive forms. This is why its arrival in
Miami shifted the segmentary gaze of the
market to contemplate and enter a “cultural
Aleph”, in a nerve center not only anchored in
aesthetic diversity.

The United States, with its artists,
masterpieces, and movements, has indelibly
marked the history of Western art, imposing
itself on art collectors. But has it always been
this way? To this question, we can condently
answer no, as it was only in the 19th century
that American art found its own identity,
breaking away from the European tradition
and allowing it to transform into a
conglomeration of dierent cultural
inuences, which continues to grow in a
fascinating manner.
From the 1960s, Cubism, Expressionism,
Dadaism, Surrealism, Kitsch Art, Op Art, Pop,

Environment Art, Video Art, Preciousness,
Synchronism, and Regionalism have
coexisted and interacted, giving us names
such as Pollock, Bacon, Koons, Hirst, Basquiat,
Banksy, Abramovic, Kusama, Weiwei,
Sherman, among others; and in each “ACT”
proposed by Galeria Azur Miami, in the best
Borgesian style, we are provided with a brief
journey through the history of American art,
from its indigenous origins to the most

Artworks