News — AQUA Art Miami

Vertical Gallery is heading back to the beach. 

From December 2-6, Vertical returns to sunkissed South Florida for the 20th annual installment of Aqua Art Miami, presented in conjunction with the citywide Miami Art Week contemporary and modern art fair. This year’s group exhibition represents Vertical’s fourth consecutive appearance at Aqua, and brings the gallery back to Aqua Hotel Miami room 124, the exact same space we occupied during 2025’s event. 

Vertical owner Patrick Hull reveals everything you need to know to writer Jason Ankeny (@tenaciouslittlemonkey) in the latest edition of our web-exclusive Five Questions with… series.

Question 1: What does Vertical Gallery have in store for Aqua Art Miami 2026?

Patrick Hull: This year, we are bringing a big group show to Miami Beach. The overall focus is mid- to small-size work, like we’ve shown the last couple of years at Aqua — work that’s a little more approachable, and a little easier to take home with you from the fair.  

There’s going to be some familiar names: Flog, Collin van der Sluijs, Martin Whatson, Troy Lee, Joe Renda, Jerome Tiunayan, Laura Catherwood and Sergio Farfán. We’re also bringing back some names that have been part of the Vertical family in the past, like My Dog Sighs, who was part of the first SCOPE Miami show we ever did, and Brad Novak, an artist we’ve shown for quite a few years. We showed CANTSTOPGOODBOY some time ago at Line Dot, which was our other gallery space. I met him when he was exhibiting next to us at SCOPE Miami many years back. He usually works very large-scale, but he has a great idea for a collection of smaller original works. 

Last but not least, we’re showing two artists that are new to us. I found Julia Las through Instagram. I think her micro-watercolors are perfect for Aqua. I first saw RAKI’s work through a show at another gallery, and really like his clean, bright colored paintings. He’s doing 16 of them, all 12 by 12 inches.

Each of these 13 artists will have multiple works, as well as a specified amount of space within the room to create a collection of work. They decide how many pieces to show within that space. I think people will be excited by what we're bringing — even the familiar names are doing some really different work. 

Several of our featured artists are attending Aqua this year, which I'm excited about. My Dog Sighs will be there from the UK. Brad Novak from New Zealand, too. CANTSTOPGOODBOY will be down there from the D.C. area. Jerome Tiunayan and Sergio Fárfan will be in from Chicago. 

Question 2: At a high level, how do you approach these types of large-scale art fairs compared to curating a Vertical group show in Chicago?  

This is our 12th time doing Miami, but I feel like I'm still learning how to do it right. Planning an art fair is definitely different from planning a gallery show: An art fair is something that is alive for only four or five days, versus a show at a gallery that can run four to six weeks. Sometimes I'm planning things out nine months, a year, even a year and a half in advance, and you don’t really know what collectors are gonna want that far into the future, so I’m hoping people continue to like the type of work and aesthetic that I'm choosing for the gallery — which is why they continue to follow us — and that we attract new customers, too. 

The cost of doing an art fair is considerably higher than having a physical retail space, so I think about the mix of artists, the style of work and the price points — what I need to make the fair profitable for my business. When I allocate space on a wall within our Aqua exhibition room, I think about the total dollar value of that space: I'm paying for that space, so it matters how much of it each piece and each collection takes up. I feature artists who do something specific that I feel will fit within the space, as opposed to a group show at a gallery, where I give the artists much more free rein to do what they want to do. The work for Aqua can’t be too large, for example — the rooms aren’t big enough to interact with it. I keep the focus on mid- to small-size works because of the environment in which people are shopping.

We rearrange the room almost daily as things sell, to give each artist as much visibility as possible. If an artist sells out, we may move them somewhere else, so we can relocate another artist to the front of the room. We’re in Aqua room 124, the same room we were in last year. It’s a larger room, with more nooks and crannies than usual, and we put Joe Renda at the back, just because I thought the lighting was good. But it was kind of a hidden corner, so I remember thinking “Tomorrow I'm gonna move him forward.” It ended up being the best space in the entire room, because when people walk into these rooms to figure out what’s in them, they tend to start at the back and work their way forward. Joe’s work looked great back there, and he sold out. 

One thing we don't do is mark up our prices. I learned early on that some galleries raise their prices to allow discounting at fairs. We've always been transparent with our prices. We put them on the wall, and we put them on our website. We're not inflating the price to deflate it. I hate that sales tactic. It’s trickery. 

(Aqua Art Miami December 2025)

Question 3: Will collectors be able to purchase work from Vertical’s Aqua booth ahead of the official event kickoff?

No. This year, we're gonna go back to what we used to do, which is in-person-sales-only on Opening Day [Wednesday, Dec. 2]. We want people who travel to Miami to get the first shot at purchasing work, so if you're interested in any of our artists, get your plane ticket and get your hotel room. Whatever is left after Opening Day will be posted for sale on our website at noon ET the following day [Thursday, Dec. 3].

If anyone needs a pass for Aqua Art Miami 2026, just email me, and we’ll get you in. You don't have to pay anything. You can also get into Aqua if you have a pass from one of the other Miami art fairs.

Question 4: What keeps you coming back to Aqua year after year? 

It's a great platform to feature our artists and expand our collector base. These art fairs are huge, and there are many, many collectors coming down to see what galleries are bringing. It’s also a chance for me to meet new artists. Artists will reach out to me, and I’ll tell them “Stop by Aqua so I can meet you in person.” It’s much better than just reviewing a PDF of their work, and I get to put a face with a name.

Having done Miami for so many years, we have a great collector base down there, too. It's not just collectors from Florida, either. Lots of our collectors from Chicago come down, as well as lots of people that we met in New York City years ago when we did SCOPE there. Some of these are people that I only get to see once a year, and it's always a pleasure when they stop by to visit us.

And Miami is just great the first week of December. It's warm, but not humid. It's sunny.

You're on the beach. You can breathe real air. Best of all, you’re part of a giant art community. Everybody is there to show work or see work or buy work. It feels good. 

Aqua is the type of thing you have to apply for, you know. They have to accept you. So I'm very happy they like our programming and invite us back to participate. I'm very grateful to them and the appreciation they show for the gallery.

(Aqua Art Miami with Laura Catherwood in December 2025)

Question 5: Looking past Miami, what does Vertical have lined up for the first quarter of 2027? 

January always used to be my opportunity to take a month off and go to Europe to visit artists and have fun, but we're kicking off the new year right away by doing a show with Flog at Esmé, a Michelin-starred restaurant in Chicago. 

It's going to be a really special exhibition. It’s not just about the art on the wall — Flog is creating the whole environment, and how food is served to you. Esmé has been doing these artist collaborations for a while, but this is the first time Vertical is bringing one of our artists into their space.

Then we’ve got Jerome Tiunayan’s first solo show. We’ll be doing that in a space we’re renting on Chicago Ave. I’m also planning out our 14-year anniversary show, which is in April. Stay tuned!

Vertical Gallery closes out its 2026 programming slate by returning to sunkissed South Florida for the 20th annual installment of Aqua Art Miami, December 2-6 in conjunction with the citywide Miami Art Week contemporary and modern art fair.

Vertical’s Aqua Art Miami 2026 roster assembles 13 artists from across the urban-contemporary universe — an intoxicating blend of gallery mainstays, longtime favorites and new voices, all on view inside Room 124 of Miami Beach’s historic Aqua Hotel.

Vertical’s Aqua Art Miami 2026 roster, in alphabetical order:

Brad Novak [New Blood Pop] (NZ)
CANTSTOPGOODBOY (US)
Collin van der Sluijs (NL)
Flog (FR)
Jerome Tiunayan (US)
Joseph Renda Jr. (US)
Julia Las (UA)
Laura Catherwood (US)
Martin Whatson (NO)
My Dog Sighs (UK)
RAKI (PH)
Sergio Farfán (US)
Troy Lee (US)

“The overall focus this year is mid- to small-size work, like we’ve shown the last couple of years at Aqua — work that’s a little more approachable, and a little easier to take home with you from the fair,” says Vertical owner Patrick Hull. “Each of the 13 artists will have multiple works, as well as a specified amount of space within the room to create a collection of work. They decide how many pieces to show within that space. I think people will be excited by what we're bringing — even the familiar names are doing some really different work.” 

Five of Vertical’s featured artists — Farfán, Novak, Tiunayan, CANTSTOPGOODBOY and My Dog Sighs — are confirmed to attend Aqua Art Miami 2026, Hull reports. Additional guests are still to be determined. Be sure to follow @verticalgallery on Instagram for breaking news on interactive artist events and more.    

Vertical Gallery is an Aqua Art Miami mainstay, making its fourth consecutive appearance at the fair, one of more than 20 events assembled under the Miami Art Week 2026 banner. This year’s exhibition marks Vertical’s 12th overall Miami Art Week showcase since opening for business in April 2013.  

All works from Vertical’s Aqua Art Miami 2026 booth will be available in-person only during Wednesday, Dec. 2’s VIP preview from 3:00 to 10:00 p.m. ET. Any remaining works will be posted for sale on the gallery’s website Thursday, Dec. 3 at 10:00 a.m. ET.

Shop artwork from Flog here.

Flog sees people for who they really are. The French painter — one of 13 artists exhibiting with Vertical Gallery at Aqua Art Miami 2025 — exposes the emotions and experiences below the surface, bypassing our exterior selves to capture the true essence of our beings.

Flog’s deft, dazzling blend of aerosol spray, acrylics and oils gained international attention following the 2020 introduction of his signature Human of Glass character, within whose transparent body the colors and complexities of life swirl and splash. Vertical Gallery first exhibited Flog’s work on American shores in 2022, and presented the artist’s debut U.S. solo showcase, the sold-out ‘Rewind,’ at SCOPE Miami Beach 2023. We next reunited in May 2025 for Flog’s first New York City solo show, ‘Hand in Hand.’ 

What does Flog have in store this time around? Find out in the latest installment of our Artist Spotlight series. 

Vertical Gallery: What adventures await your Human of Glass character at Aqua Art Miami 2025?

Flog: For this year’s edition of Aqua Miami, I wanted to revisit a series I had set aside for quite some time. This new body of work revolves around the symbolism of overcoming adversity, using a metal fence as the central obstacle my character must cross — one way or another. What awaits on the other side is left entirely to the viewer’s imagination.

Along with the introduction of the fence motif, I’ve also been exploring new variations in the character’s clothing. It’s something I’ve been experimenting with lately because it allows me to bring in new accents of color and create stronger visual contrasts.

Which colors are you embracing this time around, and what feelings and thoughts do you hope to evoke?

In this series, I’m not focusing on a specific palette in the traditional sense. The emphasis is more on symbolism than on color itself. That being said, the sky is very present as a metaphor for hope and dreams — so naturally, shades of blue appear throughout the paintings.

After exhibiting with Vertical Gallery in New York City, you headlined a solo show in London. How did those two exhibitions differ, and how did they feed into the work you have planned for Miami?

The London show, much like the Miami presentation, centered on the character interacting with a recurring symbolic element to tell new stories. The NYC exhibition, on the other hand, explored oversized objects connected to the character’s identity. But the biggest evolution — both in London and now in Miami — is the introduction of a female Human of Glass figure, which opens up new narrative possibilities.

Why did you choose to introduce a female figure?

The Human of Glass was always meant to be genderless, but over time I realized that many viewers subconsciously perceived it as masculine. Introducing a second figure felt like the right step — one that will allow me to tell new stories moving forward. And if this helps women or young girls connect more personally with the character, then it’s absolutely worth expanding its universe.

How else has your relationship with the Human of Glass evolved over the years?

My relationship with the character remains fundamentally the same as in the beginning. But with each passing year, I feel more confident pushing the symbolism further, creating bolder narratives, richer details and more vibrant compositions.

What do you hope the Miami audience takes away from experiencing this collection of work?

I chose a universal theme, and I hope viewers will read it in a positive way — as a reminder that nothing should hold us back when we have a dream to pursue.

Shop artwork from Flog here.

Shop artwork from Laura Catherwood here.

It’s been less than three months since Laura Catherwood co-headlined the Vertical Gallery group show ‘The Scenic Route’ opposite Joseph Renda Jr. and Jerome Tiunayan. But in that time, the painter and illustrator published her first book, the career retrospective ‘Gestures from the Field,’ and relocated from her native Chicago to bucolic Rochester, N.Y. Last but not least, she’s one of 13 artists exhibiting with Vertical at Aqua Art Miami 2025. 

Laura updates us on her new life and previews her newest work in the latest installment of our Artist Spotlight series. 

Vertical Gallery: Tell us about the work you’re showing at Aqua Art Miami 2025. 

Laura Catherwood: It’s essentially a direct follow-up to my ‘Scenic Route’ body of work. There are eight pieces: two 20-inch by 30-inch oil paintings, and six 11-inch by 14-inch drafting film drawings. ‘The Scenic Route’ also combined larger oil paintings and drafting film drawings, but that collection was about setting out on an adventure; it was the end of part one. This is the start of part two. The animals are a little deeper in, and it’s like “How do we find our way around here?”

All the drawings are titled “They're Always With You,” and each one has its own [parenthetical] title, which comes from whatever activity is happening in the drawings. All the pieces feature a main animal, and then in the background, there are blue animals alongside them. I wanted those blue animals to feel kind of ghostly and separate physically, so I added another sheet of drafting film. Instead of three layers [of drafting film], there are now five, because each sheet adds a front and a back, which gives each piece so much more depth. 

The inspiration behind “They're Always With You” is our Chicago community. My husband and I extracted ourselves from that community to come to Rochester, but all those people are still with us. We're still supporting what they're doing, and their efforts still affect us. There’s togetherness despite the distance. The title also ties back to grief, the ongoing theme of my work. People you care about may be physically gone, but they're always there with you. 

Are the creatures in these new paintings and drawings native to upstate New York?

Yes. The animals are also native to the Midwest, which connects this body of work to ‘The Scenic Route’ — the fox is a key character in both. But there are different birds and plants involved. One of the large paintings in the last show was a great blue heron, and instead of just using that bird again, I chose to use the great white egret, which is also found in Florida, so I thought the Aqua people would like it, too.

What are your initial impressions of your new environment?

It's an autumn wonderland. The foliage has just been insane. We live in a historic district, and sometimes I think I might be in a coma, because this is exactly the neighborhood environment that my brain would dream up for me. It's so beautiful. Everyone is so nice.

A big move like this drudges up a lot of big feelings, especially after living someplace for so long. It makes you intensely aware of what's most important in life. This moment is also very special because it's almost like the quarantine times, where no one's expecting me to be anywhere at any given moment. I have complete freedom over how I spend each day. It's like entering a new zone in a video game.

It’s difficult being away from the Chicago art community, though. With Instagram, I can still see what everyone's up to, but the thing with art is that it's always more amazing in person. It stings to miss out on [Chicago gallery] openings, but that’s one reason why I’m so grateful to go to Aqua: I’ll get to see some of my friends’ work there. And there are new people to get to know here in Rochester. I already found an artist I love.

Will viewers recognize Rochester’s impact on the work you’re exhibiting in Miami?

I don't think it’s a stark difference. It's still very much me and what I do. I'm still the same person — I’m just moving forward.

Shop artwork from Laura Catherwood here.

Pop-surrealist polymath Adam Augustyn conjures candy-colored dreamscapes inspired by animation, mythology, music, horror movies and the obsessions of his three daughters. 

The Chicago-based painter — one of 13 artists exhibiting with Vertical Gallery at Aqua Art Miami 2025 — first appeared on our walls as part of 2021’s ‘Water the Plants!’ A second Vertical group show, ‘Atomic Number 13,’ preceded Adam’s debut solo showcase, 2022’s ‘The Sky Is Falling,’ a collection grappling with the proliferation and normalization of fringe conspiracy theories. He returned to Vertical two years later for ‘Hero’s Journey,’ a deeply personal celebration of adventure and discovery. Discover what’s next for Adam in the latest installment of our Artist Spotlight series. 

Vertical Gallery: What do you have in store for Aqua Art Miami?

Adam Augustyn: This collection is about heartbreak, isolation, adaptation and reconnection — how I resist change, and my desire to freeze time and stand still. As my kids get older, I look for ways to stay connected to them but also hold on to each moment. I have been married to my wife for 25 years, and as our relationship evolves, there is resistance and fear to that, but also, I look forward to it. I tried to capture this push and pull throughout the collection.

I drew inspiration from other artists who explore similar themes, and included nods to their work. There’s a painting reminiscent of the Frida Kahlo piece “The Wounded Deer,” and another is inspired by Winslow Homer’s “Fox Hunt.” These influenced pieces visually and thematically, and, in some cases, rebelled against my interpretation of what was intended. Each painting includes an animal or insect based on how their symbolism reinforces the story.

I associate your work with human figures. Where does the animal motif come from?

There was a piece in my previous show with Vertical that [gallery owner Patrick Hull] and others responded to — a heron with a mask and graffiti painted on it. I was excited about that as a jumping-off point. As I sketched, nothing was working. I started reverting to my comfort zone and worked on portraits, but they were not capturing what was in my head. After trying a variety of subjects, I circled back and thought “You know what the answer is? Animals.” Which is exactly where we started. 

A lot of research went into this collection. I love to hide meaning in little details. I include symbols from religions, mythology, fables, old stories, old paintings, references to Chicago. What I put in paintings ebbs and flows through the whole series. Elements of the first painting sneak into the second, and so on. It helps me feel like the collection is more cohesive. 

Sometimes, I worry that the concept can get a little muddy. I’m not sure if what I am trying to say is clear or if I strayed too far away from the original intention. I feel like I’ve gone off too far — like “Oh, I put too much stuff in.” But when I share the work, I usually end up where I wanted to go. I think the distance from the painting helps me appreciate it more: I finish a piece, hate it, and then, three paintings later, it’s my favorite one.

Is this love-hate relationship with the work unique to you, or have you found your peers feel the same way? 

I think it’s common, but I find that, especially for me, it’s about being too close to a painting. Once it’s done, I don’t want to look at it for a bit, because I will nitpick details and second guess. When I get some distance from it, those things tend to stand out as the parts that make it feel unique, or a little bit more fun. 

Your work typically features bright, pastel colors — a palette that’s very much aligned with Miami Beach’s Tropical Deco aesthetic. What colors can we expect from this newest collection?

I don’t know if it’s as pastel, but they are saturated with color.

When I started, I wanted a unified background, so I painted all the backgrounds in kind of a cool blue-green. It was the first thing I threw out the window. It just didn’t work for me. I felt a little constrained by it. Each individual piece needed its own lighting and its own color to really set the mood and tell its story.

What do you hope the Miami audience takes away from this work?

I hope they can see the struggle in each piece and relate to that. Trying to adapt while also resisting change. Finding hope while struggling.

I love talking to people and finding out what a piece means to them. I believe my art is for the viewer as much as for me. I know what I am trying to say, but what attracts the audience to the piece is just as important. If it’s different from what I intended, I think that is great.

Vertical Gallery will feature eight 9-by-12-inch acrylic paintings on aluminum panels from Adam Augustyn (@adammaugustyn) at Aqua Art Miami, which runs December 3-7. Email sales@verticalgallery.com for the collector preview.