Untitled, Miami Beach is as nuts as one might expect this year, with plenty of twisted American iconography and, of course, numerous references to the country’s loony-in-chief. News had recently broken of Trump’s oncoming leadership at last year’s Miami Basel, and it was awash with references to him and with rebellious political works.
A year on, Trump is somehow still in the White House and ridicule seems to be one of the last cards to play—summarized by Eric Yahnker’s sadly hilarious Russian Roulette, in which Trump upends his own toupée with a hairdryer. There are less specifically directed angsty works to be found too, with petrified faces glaring out the works of Farrokh Mahdavi and, to a lesser extent, Allison Zuckerman’s.
Miami calls for big, bold and ridiculous, and Untitled doesn’t look as though it’s about to disappoint.
