ART WYNWOOD, a continuation of the art happenings inaugurated by Basel and Art Miami in December, doesn’t quite possess all the sparks it did PRE-COVID. Remnants of the bad, the good and even the ugly from the December fair can still be found. Nevertheless, for those who truly seek, there are still some commendable works in the mix. As we’ve already delved into the momentum of the fairs in our previous newsletter, we’ll leave you with a few words and images encapsulating the positive aspects of the event.

Our friend Frank Hyder had two booths showcasing several works from his Janus series. Additionally, there was an installation featuring his illuminated canoe vessels, inspired by his travels and experiences in South America.

Among the memorable booths we encountered in passing were those of Latin Core (Miami), Cernuda Arte (Coral Gables), and Eternity Gallery (Aventura), among others. Masters like Fernando Botero (Latin Core) and contemporary Latin artists have a strong presence here, reflecting Miami’s profound support and admiration for Latin American art. Exploring earlier drawings and paintings by Botero was a special treat, offering a deeper understanding of his work beyond the typical visually striking beauteous female and male forms often seen at Basel and Art Miami. The Latin Core booth provided a rich context for Botero’s oeuvre, highlighting the gallery’s commitment to promoting his work within the art milieu. Similarly, Cernuda Arte (Coral Gables) continued this scholarly approach, showcasing the works of Wifredo Lam, Gina Pellón, and other esteemed contemporary Latin artists.




Do you ever wonder if museums display their entire inventory? MOMA currently provides an answer to that question, offering a fascinating glimpse into its extensive collection. Now on view you can see the pieces from three distinct periods: 1880s — 1940s, 1950s — 1970s, and 1980s — Present.

While all the works on display are remarkable, a significant portion of gallery space is dedicated to the important works of Jacob Lawrence, a pivotal black artist of the 20th century. It’s crucial to pay special attention to these pieces. The series of works presented illustrate concerns such as poverty, justice, and discrimination from not so long ago—issues that unfortunately remain poignant today. These bold, colorful, strong compositions resonate deeply with the black and marginalized human experience in America, a narrative that persists even in the 21st century. His use of bold geometric spaces mirrors the strength and complexity of his subjects’ situations. Lawrence skillfully captures the enormity of the human condition through rhythmic and repetitive figures and patterns, speaking loudly and compellingly to the audience.

Another noteworthy exhibition within the collection features primarily unknown photographers from the earliest years of photography. These works showcase the remarkable excitement and interest in photography, not only as an art form but also as a means of capturing history and circumstance.



In addition to the special attention that the Morgan Library and Museum is giving to introducing us to its past Director Librarian, Belle da Costa Greene, there is an exhibition showcasing the works and historical ephemera to celebrate the importance of Beatrix Potter, the renowned British female writer and illustrator best known for “The Tale of Peter Rabbit.” This exhibition not only features delightful drawings of Peter Rabbit and other materials authored by Potter but also offers a fresh perspective on her life’s work. This exhibition will run through June 9, 2024.

By placing her work in historical context, the exhibition provides insight into Potter’s multifaceted identity. She wasn’t just an artist; she was also a significant activist, feminist, and historian. Potter was truly ahead of her time, celebrating the beauty of the land and its natural environment, along with the animals inhabiting it. Notably, she had the means to support her beliefs, investing in both recording farmland, farm life, and the countryside’s beauty and advocating for conservation by generously donating hundreds of acres for preservation in Yorkshire, England’s largest county.

Concurrently, the Morgan is hosting a photography exhibition featuring recent acquisitions that is equally captivating. Alongside works by established artists such as Diane Arbus and Irving Penn, there are also intriguing early photographs by unknown photographers adeptly documenting the human condition. The ongoing changes in programming at the Morgan and MoMA, which now actively acquire and promote the work of lesser-known artists, mark a positive shift from past practices. It’s a commendable step forward for these esteemed institutions.



Having found myself near Sotheby’s, I serendipitously wandered into the lobby of their building on 72nd and York Avenue. Upstairs, I discovered an impressive assortment of prints by important contemporary artists, including masters such as Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Keith Haring, Wayne Thiebaud, and others. This exhibition serves as a preview of works to be offered in their Prints & Multiples Auction (12 – 19 April, 2024). It was a delight to experience this exhibition, not only because of the spacious, airy environment conducive to leisurely contemplation of the artwork, but also because it provides the public with an opportunity to see prints by many great artists displayed side by side, allowing for comparisons of their creative output, sometimes produced concurrently.

What struck me particularly was how important bodies of print work of some of these artists have become over the course of time, since there is very little of their primary work available. It’s also fascinating to observe how certain pieces by individual artists are valued differently for various reasons—be it popularity, limited editions, or other factors. For those interested in delving into the print market for a particular artist, comparing editions, not only between artists but also within an artist’s body of work, can be both meaningful and educational. With numerous Jasper Johns print works up for sale, one might speculate if Sotheby’s aims to mark a new era of business with his prints, especially considering his advanced age. Collectors must navigate the intricacies of each artist’s history to contextualize each piece, educating themselves on which works fall within certain price ranges. While purchasing art can be a gamble, but for those like me who aren’t in a position to buy, the educational value of viewing such exhibitions is truly priceless.

Adjacent to the preview of Contemporary Prints, another group of gallery spaces celebrates the life and era in which Tamara de Lempicka worked at the beginning of the 20th century. Lempicka, one of the most important female early 20th-century artists, epitomized the vibrant, bold spirit of the roaring ’20s and the industrial rush of the era through her colorful brash, and bold works.


The life of Belle da Costa Greene, or Belle Marion Greener as she was named at birth, is one for the history books. The title of Librarian seems to be a misnomer for such an exceptional scholar and art entrepreneur of Ms. Greene’s caliber. This woman of color single-handedly developed the most prestigious and treasured library in the world.

The Morgan would not be what it is today without her. She had the courage, scholarship, and moxie to create one of the most important libraries in the world, putting her mostly male peers at bay. Even Mr. Morgan’s keen interest, passion, taste, and great wealth would not have been enough to create such a force in the rare book and art world at that time. The combination of the two was a tour de force. Her life and depth of accomplishment are a testament to her courage, fortitude, and genius.

Despite the unjust shackles that society places on some, both men and women of any color and ethnicity can conquer and aspire to great heights. There are many unsung heroes who rightfully deserve their place in the history books, and Belle da Costa Greene is one of them. Why wasn’t her history shared with us in the classroom in my day? Why didn’t books and teachers discuss great women and people of color? Even being in the Library Club didn’t give me insight into her journey and achievements. Greene’s life of defiance and disguise was the only path that she felt she could take, even sacrificing time with her most treasured father who could not stomach the art of secret passage that she and her family believed they had to subscribe and succumb to in order to have a fulfilled life, home, beauty, and recreation. Much has changed, but too much is still the same.

The story of Belle da Costa Greene was of particular interest to me, prompted by memories of a program for Art Administration I took with my best friend at NYU. One of our collaborations was a paper on the Morgan Library & Museum. It baffles me that neither Morgan nor NYU mentioned the herculean tasks that Greene had to develop such a valuable and comprehensive collection of such world renown. Why didn’t they? My friend and I were two aspiring women who wanted to get involved with the arts, a world still dominated by men, on a high level. I can’t believe we received an A without discussing her at greater length. Why wasn’t she heralded as a great scholar, leader, and entrepreneur? Certainly, she should have been an example and someone to aspire to, not only for all people but particularly for women of color. This valuable information makes a big difference to some and at the very least enlightens others.

I was prompted to take note of this great woman and write this article out of idle curiosity when I was in the wonderful Sanibel Library in Sanibel, Florida. I came across the New York Times bestseller “The Personal Librarian” by Marie Benedict and Victoria Christopher Murray. When I read a synopsis of the story on the back, I couldn’t believe that in all these decades I did not know much about Belle da Costa Greene and her importance. I encourage everyone to read this book. It is beautifully written, an easy read, full of wonderful historical details. Not only does it highlight the incredible life and accomplishments of a woman who had to pass as White, struggling to survive in a world of hypocrisy with all its cruelties, but it also illustrates how societies, both the poor and the privileged, navigated their journeys in life in a United States that is still flawed to this day. Even the existence of this book is hopeful. It is a wonderful story, and it is a true one. We need to celebrate the accomplishments of people like Belle da Costa Greene, pushing forward and advocating for education and awareness for all so that everyone can be enlightened. There is a lot more to the book than its cover.


“The Personal Librarian” by Marie Benedict and Victoria Christopher Murray, Berkley, 2021


Don Kimes is truly what, in some circles, would be referred to as the real deal. Any one of the several titles above would be more than sufficient for anyone to tackle and excel in, but truly, he encompasses all of these and more. His practice deserves to be celebrated!


In recent years, he relinquished the helm of the Visual Arts Department at the renowned Chautauqua Institute in Chautauqua, NY. Its prestigious art program was nurtured and developed for decades by him and his invaluable assistant, Lois Kimes. For over thirty years it has been a respected and exciting educational visual arts program and artist community. The impact of his teachings and programming, even to this day, can be found and felt in the broad artistic community. Many of the artists he mentored continue to engage in the practice of art and exhibit their work. Dozens follow and remain in touch with him. Retirement seems a misnomer for Kimes. He still works as a professor at  American University and once was the Art Department Chair. His students, whom he also educated and mentored while overseeing the Chautauqua Art Program, have for the most part continued to excel in their practices. And, within the past decade, he has also directed an Artist Residency in Italy. When does the man sleep?

DBFA is honored to have represented him and to have exhibited his work.

We celebrate his lifelong dream of having a large studio come to fruition this past year and are excited to see what the realization of this dream has to offer us in his new work.

In addition to all the talents and experience we have already mentioned, he isn’t leaving any stones unturned. Five of his pieces were recently included in “MAD ABSTRACT” exhibition at Jim Kempner Fine Art, NYC, along such prominent artists as Louise Bourgeois, Mel Bochner, Sam Francis, Charlie Hewitt, Mary Heilman, Jay Kelly, Sol Lewitt, Elizabeth Murray, Paula Scher, Frank Stella, Cy Twombly and Stanley Whitney among others. Last year fifteen of his works were presented at the Singapore Global Art Fair by MK Gallery, South Korea. This Summer he will also be returning to Italy for the ACI residency in Umbria. Additionally he recently juried the Winter Exhibition at Blue Mountain Gallery, NYC. Don Kimes did a great job choosing talent for the show. Among those included were familiar faces such as one of our featured artists Doulas Newton and Erin Karp. We were pleased to be a part of its well attended reception. It felt like a Chelsea Art  reception crawl. It was good to see so many people viewing art and intermingling.

In addition to the milestones of experience that we have mentioned, Kimes was the Program Director of the famous New York Studio School on 8th Street in Greenwich Village prior to his lifelong stint at Chautauqua. The Studio School was an incubator of talent and continues to be. Its influence was obviously a significant one for Kimes. Having heard many “art and artist stories,” you can sense that the Studio School provided Kimes, as well as many like him, with the seeds of creativity, discourse, useful art information, tips, and historical reference, among other things. Artists like Andrew Forge (the associate dean) and Mercedes Matter (chief founder) provided impetus and magic amidst the many talents of that day. Kimes is part and parcel of the bumper crop of artists that make these institutions and processes so sacred and fundamental to many aspiring working creatives.

Don Kimes recently wrote an article on the famous artist Philip Guston. We prompt you to click on THIS LINK to read it.

Kimes met Philip Guston at the Studio School. Guston has certainly been part of the history books for a long time but he has always been an idiosyncratic character. Sometimes in the past, he was to some degree under-appreciated. Guston was a “traitor” in the midst of artists that were reveling in abstract expressionism in the late fifties and earlier sixties; he dared to do what he wanted to do and explored and advocated the world of neo-expressionism. And he did so admirably. He was a force to reckon with. In recent years, he and his work have been getting their due. There have been very important exhibitions of his work in New York, recently in Washington, etc.

Please view and enjoy Don Kimes’s works. You can find them on our website, and Artsy.


Visiting an artist in their studio has always recharged my batteries and excited me. It is wonderful to see and experience recent works and those in progress, as well as to hear the artist share their ideas, concepts and illustrate the processes involved, deepening one’s understanding of their art practice. It’s all life reinforcing!

Ascending some three plus flights of stairs to Wolfe’s expansive work and living space evoked a sense of déjà vu from the late 70s and 80s when I first began to immerse myself in city life, transitioning from my safe, rural upbringing in Litchfield County, Connecticut. It was an exhilarating time for a young college woman like myself from the boonies. At that time numerous soirées, talks, and parties were commonplace in Soho. Back then, it exuded an edgy and vibrant Bohemian atmosphere, vastly different from what it is today.

It was precious to see that there are still “last men standing” from that illustrious era, untouched by the jaws of gentrification.

Stepping into Wolfe’s expansive space I immediately felt free and could breathe. His studio made my own New York apartment seem as cramped as a high school locker! The scent of paint and wood dust lingered in the air, while raw materials such as plaster, wire, frames, and racks of works adorned the space, showcasing his established practice. Encountering creativity head-on, I was captivated.

Wolfe had new, more three-dimensional pieces. In the past DBFA has shown a number of his wall pieces, although they are often assemblages, the works that I saw were  primarily free-standing sculptures. Some reminded me of the ephemeral pieces one might encounter in the studios of artists like Brâncuși or Giacometti – raw materials displayed, studied, and repurposed for their intrinsic value. In Wolfe’s case, these materials included plaster, wood, rope, and construction wire among others. There was a palpable physicality to his work, celebrating the raw beauty inherent in the recycled materials used to create these sculptures and assemblages.

Wolfe focuses on articulating space, form, and volume while respecting the character of each material he employs. They do not feel predetermined, they are as organic as many of the materials chosen. Even though the compositions are new their whole and parts evoke a sense of an experienced past. Having traveled extensively, Wolfe assimilates his experiences and surroundings into his visual vocabulary, imbuing his compositions with a sense of intimacy and uniqueness that resonates with the viewer. Beyond the sense of space, Wolfe encourages viewers to embark on their individual journeys with his work, engaging with its mystery.

As we sat in old, comfy chairs, Wolfe shared his personal history. Growing up in a modest home in New Jersey, he left at a young age to pursue a life in art, eventually becoming an Art Director in Advertising, all while consistently creating his own work. His story resonates with the familiar struggles of many creatives. Having paid his dues for many years, he has been dedicated to persevere in Soho and continue his art practice both in the city and his upstate home in New York.

We encourage you to view Gerald Wolfe’s work on our website, Artsy, and 1stDibs. For a studio visit please contact: Denise Bibro Fine Art at [email protected].