NADA is pleased to present TD Bank Curated Spotlight—a special section at NADA Miami 2025 organized by Kate Wong, curator, writer, and researcher from Vancouver, British Columbia.
For the 23rd edition of the fair, Curated Spotlight will feature five presentations from exhibiting galleries. This year marks the sixth anniversary of the NADA x TD Bank Curated Spotlight program—a crowd favorite at both Miami and New York fairs. Introduced at NADA Miami in 2021, the Curated Spotlight program invites galleries and artists to collaborate with a curator to showcase their presentations at the fair.
Participants
Devin N. Morris
(EFA Robert Blackburn Printmaking Workshop, New York)
Ana Alenso and Alessandro Balteo-Yazbeck
(El Consulado, New York)
Faith Icecold
(ROMANCE, Pittsburgh)
Huey Lightbody and Mahari Chabwera
(Southside Contemporary Art Gallery, Richmond, VA)
Marissa Delano
(Spill 180, New York)
For the 23rd edition of the fair, Curated Spotlight will feature five presentations from exhibiting galleries. This year marks the sixth anniversary of the NADA x TD Bank Curated Spotlight program—a crowd favorite at both Miami and New York fairs. Introduced at NADA Miami in 2021, the Curated Spotlight program invites galleries and artists to collaborate with a curator to showcase their presentations at the fair.
Participants
Devin N. Morris
(EFA Robert Blackburn Printmaking Workshop, New York)
Ana Alenso and Alessandro Balteo-Yazbeck
(El Consulado, New York)
Faith Icecold
(ROMANCE, Pittsburgh)
Huey Lightbody and Mahari Chabwera
(Southside Contemporary Art Gallery, Richmond, VA)
Marissa Delano
(Spill 180, New York)
Curatorial Statement
For this year’s Curated Spotlight, I am highlighting galleries taking nontraditional approaches to supporting artists. These commercial and non-profit spaces are expanding what it means to support artistic practice—expanding beyond exhibition-making and the placement of artworks to offer resources, programming, and community infrastructure.
Founded in 1948, the EFA Robert Blackburn Printmaking Workshop (New York) is a cooperative non-profit participating in NADA to diversify its revenue model. ROMANCE (Pittsburgh) began as an apartment gallery and now occupies a former medical office, developing a program that weaves site, history, and artistic intervention. Spill 180 (New York) embeds political solidarity directly into its operations, making ethics a structural and not symbolic part of its activity. Southside Contemporary Art Gallery (Richmond, VA) started in response to community need, offering educational programs alongside exhibitions, and El Consulado (New York) is an artist-run collective that centers Venezuelan culture and community who are thinking creatively about how to resource their exhibitions, residencies, and public programs.
These spaces serve as a reminder of the importance to rethink the logics of scale and to recognize that the most vital work is often rooted in the local. A more ethical form of sustainability within the arts ecosystem emerges through small acts—networks of artists and communities forging new models through proximity, responsiveness, and shared purpose. The artists presented in this section echo this spirit of renewal, reminding us that there is indeed a new world struggling to be born. Their work affirms the role of art in allowing us to imagine otherwise, using the language of rupture—the uneven, the disjointed, and the fractured—to give form to the tension between what is dying and what is yet to come.
– Kate Wong
For this year’s Curated Spotlight, I am highlighting galleries taking nontraditional approaches to supporting artists. These commercial and non-profit spaces are expanding what it means to support artistic practice—expanding beyond exhibition-making and the placement of artworks to offer resources, programming, and community infrastructure.
Founded in 1948, the EFA Robert Blackburn Printmaking Workshop (New York) is a cooperative non-profit participating in NADA to diversify its revenue model. ROMANCE (Pittsburgh) began as an apartment gallery and now occupies a former medical office, developing a program that weaves site, history, and artistic intervention. Spill 180 (New York) embeds political solidarity directly into its operations, making ethics a structural and not symbolic part of its activity. Southside Contemporary Art Gallery (Richmond, VA) started in response to community need, offering educational programs alongside exhibitions, and El Consulado (New York) is an artist-run collective that centers Venezuelan culture and community who are thinking creatively about how to resource their exhibitions, residencies, and public programs.
These spaces serve as a reminder of the importance to rethink the logics of scale and to recognize that the most vital work is often rooted in the local. A more ethical form of sustainability within the arts ecosystem emerges through small acts—networks of artists and communities forging new models through proximity, responsiveness, and shared purpose. The artists presented in this section echo this spirit of renewal, reminding us that there is indeed a new world struggling to be born. Their work affirms the role of art in allowing us to imagine otherwise, using the language of rupture—the uneven, the disjointed, and the fractured—to give form to the tension between what is dying and what is yet to come.
– Kate Wong