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A Distant Blue by Marisabela Tellería, curated by Sophie Bonet at Fundacion Pablo Atchugarry Miami.

Opens this Saturday May 23, 7-9 pm.

The exhibition unfolds through questions of distance, memory, and what it means to remain connected to a place that cannot be easily returned to. In this exhibition, Marisa Tellería moves across sky, map, and material, tracing how identity is shaped not only by geography, but by what is carried—through memory, through the body, and over time.

Marisabela Tellería (b. Nicaragua) is a Nicaraguan- born multidisciplinary artist based in Miami whose practice spans sculpture, painting, and installation. Through a minimalist and contemplative approach, her work explores perception, memory, displacement, and belonging. Tellería has exhibited internationally at institutions including the Brooklyn Museum, El Museo del Barrio, and Pérez Art Museum Miami, and her work is held in major public collections such as PAMM and the Hirshhorn Museum and Sculpture Garden. Tellería is a resident at Dimensions Variable.

Sophie Bonet (b. 1986) is a South Florida-based curator whose practice is informed by social and cultural anthropology. She currently serves as Chief Curator of The Frank C. Ortis Gallery and has organized exhibitions at institutions including CAMH, MACBA, and MOCA North Miami.

@marisabelatelleria @bonet.hekit @fpatchugarry.miami

#marisatelleria #sophiebonet #fundacionpabloatchugarry

A Distant Blue by Marisabela Tellería, curated by Sophie Bonet at Fundacion Pablo Atchugarry Miami.

Opens this Saturday May 23, 7-9 pm.

The exhibition unfolds through questions of distance, memory, and what it means to remain connected to a place that cannot be easily returned to. In this exhibition, Marisa Tellería moves across sky, map, and material, tracing how identity is shaped not only by geography, but by what is carried—through memory, through the body, and over time.

Marisabela Tellería (b. Nicaragua) is a Nicaraguan- born multidisciplinary artist based in Miami whose practice spans sculpture, painting, and installation. Through a minimalist and contemplative approach, her work explores perception, memory, displacement, and belonging. Tellería has exhibited internationally at institutions including the Brooklyn Museum, El Museo del Barrio, and Pérez Art Museum Miami, and her work is held in major public collections such as PAMM and the Hirshhorn Museum and Sculpture Garden. Tellería is a resident at Dimensions Variable.

Sophie Bonet (b. 1986) is a South Florida-based curator whose practice is informed by social and cultural anthropology. She currently serves as Chief Curator of The Frank C. Ortis Gallery and has organized exhibitions at institutions including CAMH, MACBA, and MOCA North Miami.

@marisabelatelleria @bonet.hekit @fpatchugarry.miami

#marisatelleria #sophiebonet #fundacionpabloatchugarry

A Distant Blue by Marisabela Tellería, curated by Sophie Bonet at Fundacion Pablo Atchugarry Miami.

Opens this Saturday May 23, 7-9 pm.

The exhibition unfolds through questions of distance, memory, and what it means to remain connected to a place that cannot be easily returned to. In this exhibition, Marisa Tellería moves across sky, map, and material, tracing how identity is shaped not only by geography, but by what is carried—through memory, through the body, and over time.

Marisabela Tellería (b. Nicaragua) is a Nicaraguan- born multidisciplinary artist based in Miami whose practice spans sculpture, painting, and installation. Through a minimalist and contemplative approach, her work explores perception, memory, displacement, and belonging. Tellería has exhibited internationally at institutions including the Brooklyn Museum, El Museo del Barrio, and Pérez Art Museum Miami, and her work is held in major public collections such as PAMM and the Hirshhorn Museum and Sculpture Garden. Tellería is a resident at Dimensions Variable.

Sophie Bonet (b. 1986) is a South Florida-based curator whose practice is informed by social and cultural anthropology. She currently serves as Chief Curator of The Frank C. Ortis Gallery and has organized exhibitions at institutions including CAMH, MACBA, and MOCA North Miami.

@marisabelatelleria @bonet.hekit @fpatchugarry.miami

#marisatelleria #sophiebonet #fundacionpabloatchugarry

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Frances Trombly: What Holds

Opens May 30, 2026
Shoshana Wayne Gallery, Los Angeles

Shoshana Wayne Gallery is pleased to present What Holds, a solo exhibition by Miami-based artist Frances Trombly. Marking Trombly’s return to the gallery following her 2016 solo exhibition, this body of work continues her investigation into weaving, labor, and the structures that make visibility possible.

Writing in the Los Angeles Times, Leah Ollman described Trombly’s sculptures, weavings, and installations as “confident trespassers,” works that “meander into all sorts of territory, straddling genre lines and tunneling through hierarchical divides.” Nearly a decade later, that trespass has become more deliberate. In What Holds, the works resist a fixed category. They move across painting and sculpture, appearing as supports, tools, remnants, and propositions. The works seem to have arrived from the studio still carrying the pressure of their own making. At the center of the exhibition is the warp, the longitudinal threads that carry tension and give structure to woven cloth. Trombly brings this underlying system forward, where it operates as both subject and support. Warps hang exposed. Textiles slip from wooden frames. Handwoven surfaces are suspended, layered, or left partially formed. The conditions of making are not concealed or smoothed over. They remain. Process is not a step toward something else. It is the work.

Her structures recall looms, stretcher bars, warping boards, and scaffolds. They hold and distribute tension. They point toward painting while refusing the stability of the canvas. They remain tied to the logic of cloth even as they occupy space. In What Holds, Trombly returns painting to its material condition: a woven support shaped by tension, labor, and time.

@frances_trombly @shoshanawayne @leahollman @latimes

#francestrombly #shoshanawayne #losangeles #sculpture #weaving #textile

Exile: Antonia Wright & Ruben Millares

On view through July 25, 2026
Piero Atchugarry Gallery

“By salvaging and transforming this boat, we hope to honor the lives it carried and evoke the broader experience of displacement, struggle, and survival. According to the UN Refugee Agency, there are currently 117.3 million forcibly displaced people worldwide. The boat is a symbol not only of the Cuban diaspora but of all refugees.”
—Antonia Wright & Ruben Millares

At Piero Atchugarry Gallery, Wright and Millares present Exile, a two-part exhibition unfolding within the gallery’s Survey Space. Developed over several years, the exhibition reflects on the immigrant experience through themes of displacement, resistance, and survival. Installed across two interconnected spaces, Exile constructs a layered narrative that moves from monument to trace.

In the first space, viewers encounter the work that gives the exhibition its title: Exile, a large-scale installation centered on a refugee boat salvaged from the coast of Miami after washing ashore in Key Biscayne, Florida. Used by Cubans fleeing the island, the vessel becomes both artifact and witness. Through sound and light, Wright and Millares transform the boat into a defiant monument, honoring not only the Cuban diaspora but refugees worldwide.

The second space deepens the exhibition’s inquiry through gesture, and the ambiguity of numerical systems. The adjacent gallery presents a selection of Wright’s cyanotypes and Millares’ paintings alongside Desembarco, a collaborative standalone sculpture that embodies both exile and arrival. Found inside the refugee vessel was a makeshift paddle, a humble tool used to navigate uncertain waters. Wright and Millares embed this paddle into native South Florida oolite limestone, creating a grounded yet suspended object: a quiet monument to crossing, landfall, and survival.

@antonia_wrighttt@rubenmillares16 @pieroatchugarrygallery

#antoniawright #rubenmillares #pieroatchugarrygallery

Exile: Antonia Wright & Ruben Millares

On view through July 25, 2026
Piero Atchugarry Gallery

“By salvaging and transforming this boat, we hope to honor the lives it carried and evoke the broader experience of displacement, struggle, and survival. According to the UN Refugee Agency, there are currently 117.3 million forcibly displaced people worldwide. The boat is a symbol not only of the Cuban diaspora but of all refugees.”
—Antonia Wright & Ruben Millares

At Piero Atchugarry Gallery, Wright and Millares present Exile, a two-part exhibition unfolding within the gallery’s Survey Space. Developed over several years, the exhibition reflects on the immigrant experience through themes of displacement, resistance, and survival. Installed across two interconnected spaces, Exile constructs a layered narrative that moves from monument to trace.

In the first space, viewers encounter the work that gives the exhibition its title: Exile, a large-scale installation centered on a refugee boat salvaged from the coast of Miami after washing ashore in Key Biscayne, Florida. Used by Cubans fleeing the island, the vessel becomes both artifact and witness. Through sound and light, Wright and Millares transform the boat into a defiant monument, honoring not only the Cuban diaspora but refugees worldwide.

The second space deepens the exhibition’s inquiry through gesture, and the ambiguity of numerical systems. The adjacent gallery presents a selection of Wright’s cyanotypes and Millares’ paintings alongside Desembarco, a collaborative standalone sculpture that embodies both exile and arrival. Found inside the refugee vessel was a makeshift paddle, a humble tool used to navigate uncertain waters. Wright and Millares embed this paddle into native South Florida oolite limestone, creating a grounded yet suspended object: a quiet monument to crossing, landfall, and survival.

@antonia_wrighttt@rubenmillares16 @pieroatchugarrygallery

#antoniawright #rubenmillares #pieroatchugarrygallery

Exile: Antonia Wright & Ruben Millares

On view through July 25, 2026
Piero Atchugarry Gallery

“By salvaging and transforming this boat, we hope to honor the lives it carried and evoke the broader experience of displacement, struggle, and survival. According to the UN Refugee Agency, there are currently 117.3 million forcibly displaced people worldwide. The boat is a symbol not only of the Cuban diaspora but of all refugees.”
—Antonia Wright & Ruben Millares

At Piero Atchugarry Gallery, Wright and Millares present Exile, a two-part exhibition unfolding within the gallery’s Survey Space. Developed over several years, the exhibition reflects on the immigrant experience through themes of displacement, resistance, and survival. Installed across two interconnected spaces, Exile constructs a layered narrative that moves from monument to trace.

In the first space, viewers encounter the work that gives the exhibition its title: Exile, a large-scale installation centered on a refugee boat salvaged from the coast of Miami after washing ashore in Key Biscayne, Florida. Used by Cubans fleeing the island, the vessel becomes both artifact and witness. Through sound and light, Wright and Millares transform the boat into a defiant monument, honoring not only the Cuban diaspora but refugees worldwide.

The second space deepens the exhibition’s inquiry through gesture, and the ambiguity of numerical systems. The adjacent gallery presents a selection of Wright’s cyanotypes and Millares’ paintings alongside Desembarco, a collaborative standalone sculpture that embodies both exile and arrival. Found inside the refugee vessel was a makeshift paddle, a humble tool used to navigate uncertain waters. Wright and Millares embed this paddle into native South Florida oolite limestone, creating a grounded yet suspended object: a quiet monument to crossing, landfall, and survival.

@antonia_wrighttt@rubenmillares16 @pieroatchugarrygallery

#antoniawright #rubenmillares #pieroatchugarrygallery

Exile: Antonia Wright & Ruben Millares

On view through July 25, 2026
Piero Atchugarry Gallery

“By salvaging and transforming this boat, we hope to honor the lives it carried and evoke the broader experience of displacement, struggle, and survival. According to the UN Refugee Agency, there are currently 117.3 million forcibly displaced people worldwide. The boat is a symbol not only of the Cuban diaspora but of all refugees.”
—Antonia Wright & Ruben Millares

At Piero Atchugarry Gallery, Wright and Millares present Exile, a two-part exhibition unfolding within the gallery’s Survey Space. Developed over several years, the exhibition reflects on the immigrant experience through themes of displacement, resistance, and survival. Installed across two interconnected spaces, Exile constructs a layered narrative that moves from monument to trace.

In the first space, viewers encounter the work that gives the exhibition its title: Exile, a large-scale installation centered on a refugee boat salvaged from the coast of Miami after washing ashore in Key Biscayne, Florida. Used by Cubans fleeing the island, the vessel becomes both artifact and witness. Through sound and light, Wright and Millares transform the boat into a defiant monument, honoring not only the Cuban diaspora but refugees worldwide.

The second space deepens the exhibition’s inquiry through gesture, and the ambiguity of numerical systems. The adjacent gallery presents a selection of Wright’s cyanotypes and Millares’ paintings alongside Desembarco, a collaborative standalone sculpture that embodies both exile and arrival. Found inside the refugee vessel was a makeshift paddle, a humble tool used to navigate uncertain waters. Wright and Millares embed this paddle into native South Florida oolite limestone, creating a grounded yet suspended object: a quiet monument to crossing, landfall, and survival.

@antonia_wrighttt@rubenmillares16 @pieroatchugarrygallery

#antoniawright #rubenmillares #pieroatchugarrygallery

Exile: Antonia Wright & Ruben Millares

On view through July 25, 2026
Piero Atchugarry Gallery

“By salvaging and transforming this boat, we hope to honor the lives it carried and evoke the broader experience of displacement, struggle, and survival. According to the UN Refugee Agency, there are currently 117.3 million forcibly displaced people worldwide. The boat is a symbol not only of the Cuban diaspora but of all refugees.”
—Antonia Wright & Ruben Millares

At Piero Atchugarry Gallery, Wright and Millares present Exile, a two-part exhibition unfolding within the gallery’s Survey Space. Developed over several years, the exhibition reflects on the immigrant experience through themes of displacement, resistance, and survival. Installed across two interconnected spaces, Exile constructs a layered narrative that moves from monument to trace.

In the first space, viewers encounter the work that gives the exhibition its title: Exile, a large-scale installation centered on a refugee boat salvaged from the coast of Miami after washing ashore in Key Biscayne, Florida. Used by Cubans fleeing the island, the vessel becomes both artifact and witness. Through sound and light, Wright and Millares transform the boat into a defiant monument, honoring not only the Cuban diaspora but refugees worldwide.

The second space deepens the exhibition’s inquiry through gesture, and the ambiguity of numerical systems. The adjacent gallery presents a selection of Wright’s cyanotypes and Millares’ paintings alongside Desembarco, a collaborative standalone sculpture that embodies both exile and arrival. Found inside the refugee vessel was a makeshift paddle, a humble tool used to navigate uncertain waters. Wright and Millares embed this paddle into native South Florida oolite limestone, creating a grounded yet suspended object: a quiet monument to crossing, landfall, and survival.

@antonia_wrighttt@rubenmillares16 @pieroatchugarrygallery

#antoniawright #rubenmillares #pieroatchugarrygallery

@saluaares at @futurefairs

#saluaares #dimensionsvariable #futurefair #dv #ny

Co-founding director of DV, @leydenrodriguezcasanova in conversation @futurefairs NYC!

Moderated by @elisartgal

Welcomed tours through yesterday. Super grateful to @margretheaanestad for representing DV as they came by.

Thanks @saluaares for capturing the moments.

#dimensionsvariable #futurefair #dv #ny

Welcomed tours through yesterday. Super grateful to @margretheaanestad for representing DV as they came by.

Thanks @saluaares for capturing the moments.

#dimensionsvariable #futurefair #dv #ny

Come visit us today in booth F1 or for the conversation at 12:30 pm. See you at @futurefairs

@marcosvalella at @futurefairs

#dimensionsvariable #futurefair #dv #ny

@a_biondo at @futurefairs

#dimensionsvariable #futurefair #dv #ny

@futurefairs opening night was a packed house. Come through all week till Saturday.

#dimensionsvariable #futurefair #dv #ny

@futurefairs opening night was a packed house. Come through all week till Saturday.

#dimensionsvariable #futurefair #dv #ny

@futurefairs opening night was a packed house. Come through all week till Saturday.

#dimensionsvariable #futurefair #dv #ny

@javier1barrera1 at @futurefairs

#javierbarrera #futurefair #dimensionsvariable #dv #ny

@claudiavieira_studio at @futurefairs

#claudiavieira #futurefair #dimensionsvariable #dv #ny