Bridget Finn was named director of Art Basel Miami Beach in July of 2023, meaning that this year’s fair, the 22nd, is the first she has organized from start to finish. In an interview a few days before its invite-only opening on Wednesday at the Miami Beach Convention Center, she discussed what goes into welcoming 286 galleries, the importance of hospitality, and the fair’s significant role in Miami’s art scene, and previewed notable booths and installations, including works by Augusto Machado and Roberto Huarcaya. With Finn, a beloved figure who was previously the director of Reyes Projects outside Detroit and a cofounder of the influential Cleopatra’s space in Brooklyn, Art Basel Miami Beach continues to evolve, offering fresh opportunities for galleries, collectors, and the visiting public.

The Miami Beach Convention Center. Photo: Courtesy Art Basel

Maika Pollack: Hi, Bridget, it’s so nice to see you! 

Bridget Finn: So great to see you, too.

MP: What are you looking forward to this week, leading up to Art Basel Miami Beach? What stands out to you as particularly exciting this year?

BF: I arrive on Thanksgiving and leave on the ninth, so I arrive before the galleries do. Getting there to see the build, and see the show go up from start to finish is truly amazing, being able to walk the halls and greet the union and see the galleries arrive. The show is now in its 22nd year, and many of the people who work on it have worked on it for 22 years, and there’s such immense pride in putting up the show. So that early piece I look forward to immensely. We have 34 new galleries joining the show this year. I remember [as a former gallerist] that anticipation entering the Miami Beach Convention Center and arriving to the booth. There is a real weight to it. And so being able to go in and introduce myself and say hello to everyone, I’m looking forward to that immensely. And then, of course, when the VIPs arrive, it just keeps rolling. That hospitality piece is so important, and really making sure that everyone feels welcomed and that they’re having this unparalleled experience that centers around all of us coming together around art is critical.

Who do you plan the fair for? Who are some of the key communities or constituencies you have in mind?

First and foremost, it’s our galleries and their artists. There are 286 galleries this year, and of course, they all have different and unique needs, which often center around sustaining their businesses and the needs of artists. So it’s kind of twofold, in terms of who I’m building the show for. A huge amount of my day to day is trying to listen to and understand those needs. It’s also our VIPs—we want to encourage them to come year on year, to continue to support artists and galleries, and for them to have those moments of discovery and learning and excitement. Institutions are another one; we hope every year that the museums will come and that we can offer them something different, something which I think the show does very well. We try to be very active with our museum outreach through the year to make sure that institutions know that we are ready to accommodate them as a group.

On a larger scale, it’s also the public that comes to the show. I do think Art Basel Miami Beach is bringing a new cross section of people who may not have come to art fairs in the past. Miami becomes this centrifuge of tech, fashion, art, music. That’s not something that you see in every city that has an art fair around the world. So that’s also something that I think is really unique in terms of our public that week. And so we are trying to provide them with the right entry point into the art world, making sure that we are there with the conversation series, making sure that it feels fun, educational, entertaining, but also provides some footing for a new buyer or a new potential buyer.

Art Basel Miami Beach 2023. Photo: Courtesy Art Basel

When I first started working in the art world over 25 years ago, art fairs were not very public-oriented. Art Basel Miami Beach built a brand that attracted non-art people, and moved things beyond a trade fair. The event became known for its mix of art, nightlife, celebrities, parties, making art more accessible.

Absolutely. And now it’s grown into this wellness industry where the late nights for many have been replaced by early morning runs, different juice bars, and yoga on the beach. It’s interesting to see all those evolutions.

You have a deep background in independent galleries and commercial galleries. How do you and the committee select which galleries get to participate in the fair? What’s the process like?

The fair’s committee is exceptional, and I’m lucky to work with such a passionate and knowledgeable group. There are six core committee members, and three additional experts for Nova and Positions. The six look at the main gallery sector. All nine of them provide input on the project-based sections together. It really does come down to what they feel are the most critical conversations that we can be having on the show walls at that time, and it’s hard to determine in advance of that meeting what that will be. The committee members want the show to look and be the absolute best it can be, but they also are rooting for the growth of the art world, and asking how we can broaden things and what new conversations can be had on site.

For the project-based sectors, I can say that the experts are charged with looking at the quality of a project. So in terms of Nova and Positions, it’s less about the history and reputation of a space, it’s really about the weight of the proposal, and so that’s why sometimes you won’t see a gallery for a year, then they’ll be back. We have 15 spaces total in Positions, and the amount of really strong applications is well beyond that. So it is a challenge, but it’s also part of the process that makes the fair the best it can be year upon year.

Galería Isla Flotante at Art Basel Miami Beach 2023. Photo: Courtesy Art Basel

Can you share any notable stories behind some of the galleries you’re particularly excited to feature this year?

One story I’m really proud of is Isla Flotante, an Argentinian gallery that’s been participating in Nova and Positions for the past six years. When I had a gallery in Detroit, I remember seeing them in the same sector as us. Over time, they’ve really distinguished themselves with unique, challenging projects, and this year they’re transitioning into the main gallery sector. I’m just so happy for them, and excited to see what they’ll do.

In terms of the stalwarts, I was just in Brazil three weeks ago, and had a really wonderful meeting with Luisa Strina [of São Paulo]. She is now celebrating her 50th year, and has done the show since the beginning. Raquel Arnaud [São Paulo] is also celebrating her 50th anniversary this year and has also done the show nearly for the duration as well. So we are really thrilled to welcome them back.

Another thing that I’m very excited about is Augusta Machado. Gordon Robichaux [in New York] is such an incredible gallery that means so much to so many people. This is their first time at the show with Augusto Machado, whom I’m sure you are familiar with, but I think a lot of people aren’t, especially in terms of a commercial market. I was at MoMA a week and a half ago and saw one of Machado’s incredible pieces installed in the contemporary gallery, and the practice is something that’s been on the radar of institutions, but in terms of a contemporary market, less so. So to see that work in Positions is really powerful.

Installation view of Roberto Huarcaya’s series Amazograma at MUAC, Mexico City, 2021. Courtesy of the artist and Rolf Art. Mexico

I’m also curious about the curated sections, especially Meridians. How is the vision evolving with its new curator, Yasmil Raymond?

Yes, we’ve had the fantastic Magali Arriola curating for the first four years, and now we’re working with Yasmil Raymond, who’s such a talented curator. Honestly, it’s such an honor to work with Yasmil. She’s pulled together an incredible group of artists. She’s reimagined the section, which will now be located at the south end of the floor, creating a more open and accessible space for large-scale installations. It’s going to be an incredible experience, especially with works like Roberto Huarcaya’s “Amazogramas,” these beautiful photograms made by the moon in the duration of an evening, which highlight environmental issues and climate change in such a poignant way. There’s also Zhu Jinshi’s massive installation, representing a fractured world through large circular structures. The Rubell Museum actually previously acquired one of these pieces, and when the gallery reached out to tell them we were doing Meridians, they were like: What a coincidence, we also are going to install the work for the show. So there will be this nice opportunity to see the artist in both settings.

What public programs or events are you most excited about this year?

We are very excited to have Kimberly Bradley curating this iteration of the Conversations program. There’s such an incredible group of artists that are coming to participate. Shirin Neshat will be our premiere talk. We’re also delving into public art with Kate Gilbert, who’s the inaugural founder and executive director of the Boston Public Art Triennial, and Deb Willis, the curator and art historian. There will be a panel with Hans Ulrich Obrist, Harmony Korine, Paul McCarthy, and Jill Mulleady called, “The Many Worlds of Worldbuilding.” It’s centered on how worlds emerge or merge in different art forms and it’ll just be a really fun conversation.

Monique Lazard works in her studio space at the Bakehouse Art Complex on March 16, 2017, in Miami. Photo: Joe Raedle/Getty Images

How do you see the fair’s relationship with the city evolving?

Miami is an incredible place. The support for the arts there is unparalleled. There’s really a genuine appreciation and understanding for the power of art in and around Miami Beach. The city has really embraced the fair and fostered an incredible creative ecosystem. This year, I’m excited to see the assume vivid astro focus work on view at the Bass Museum, which was formerly on view at the de la Cruz Collection. The city’s artist-residency programs offer invaluable support to emerging artists. I always mention to people, if you’re coming for the show and you’re coming a bit early, go to Bake House. There’re 70 artist studios that they fully fund for up to three years for each artist. Miami continues to be an incredible partner, and we’re excited to keep growing with the city

When does the fair start and end for you? 

I’m not sure it does end. I think that the show started for me when I first accepted this position. And it sort of goes from like a steady jog to a sprint, and then, honestly, immediately after the show closes, we have feedback meetings working towards 2025. In many ways, we’ve already started on 2025. We are constantly working to think about how to refine it and how to make it a better experience for those who participate, and what we can change along the way that that will benefit all of the stakeholders. I mean, in terms of Miami 2025, please send all of your feedback immediately after the show because we work quickly. Any large changes start really early. We think about refinement all the way, constantly. We try to really think through the best scenario for all parties.

What is your favorite thing to do in Miami, like something you always do there?

Oh, goodness, what do I do? I mean, what is my favorite thing to do in Miami? You know, honestly, it’s very cheesy. It’s so corny. It probably won’t surprise you that I don’t have a lot of downtime when I’m In Miami, so I get up early and I go to the beach, and I sit by the ocean, and that is just such a welcome peace of mind, a little break before the show begins that I cherish.