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Pearce and Jackson began dating while at Tennessee, and he’s been given a no-contact order by a judge after posting a $20,500 bond.
Atlanta Falcons rookie James Pearce Jr. was booked into a Miami-Dade jail on Saturday (Feb. 7) after he allegedly struck a vehicle driven by WNBA star Rickea Jackson several times while Jackson was driving away from him, according to a criminal complaint filed with the Miami-Dade County state attorney’s office.
Pearce, who was in a relationship with Jackson for three years until she ended it, is facing charges of aggravated battery with a deadly weapon, aggravated stalking and aggravated battery of a law enforcement officer. He was released Sunday (Feb. 8) after posting a $20,500 bond.
Jackson informed police she saw Pearce following her in a white Lamborghini SUV. When the vehicles were stopped at a red light, Pearce allegedly exited his vehicle and attempted to enter Jackson’s by opening the driver’s side door. She sped off and began toward the Doral (Florida) Police Department when Pearce, who got back in his vehicle, “intentionally collided into the rear of her vehicle,” according to Jackson.
At one point, Pearce cut Jackson’s vehicle off and struck it head-on. Once police arrived at the scene, a gun was drawn on Pearce, and an officer asked him to get down on the ground. Instead, Pearce got back in his vehicle and closed his car door. The officer attempted to open the door but Pearce shut it and started to drive off. In the process, his SUV struck the knee of an officer on the scene. Pearce later crashed his vehicle and was chased down by officers before being arrested.
The former first-round pick of the Falcons is facing two felony counts of aggravated battery with a deadly weapon and a felony count of aggravated stalking. He’s also facing charges that include fleeing and eluding police officers and aggravated battery of a law enforcement officer, both of which are considered felonies in the state of Florida, and a misdemeanor count of resisting an officer without violence to his person.
“We look forward to working with the State Attorney’s Office in fully investigating this case and uncovering the truth,” Pearce’s legal team Jacob Nunez, Yale Sanford and Joshua Cohen said in a statement.
“Mr. Pearce maintains his innocence and urges the public to understand that while allegations have the power to shape a narrative, that it is hardly the full, complete story. We look forward to vigorously defending our Client and remain confident that he will continue contributing positively to both his team and the community he serves so well.”
Pearce has been ordered to stay away from Jackson. According to Fox Sports’ Andy Slater, he faces a minimum of five years in prison if convicted on any of the felony charges. If convicted on the aggravated battery on a law enforcement officer charge, he faces a mandatory sentence as the crime is a felony in the state of Florida.
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Governor Wes Moore is among those being kept out of the White House’s upcoming National Governors Association dinner by President Trump.

Governor Wes Moore, despite being the vice chair of the organization, has apparently been uninvited to the White House’s upcoming National Governors Association (NGA) dinner.
On Sunday, Feb. 8, the 47-year-old Maryland Governor shared the update on his social media platforms, calling the move “another example of blatant disrespect” from the White House and noting his concern as the only sitting Black governor currently. 
“This week, I learned that I was uninvited to this year’s National Governors Association dinner – a decades-long annual tradition meant to bring governors from both parties together to build bonds and celebrate a shared service to our citizens with the President of the United States,” he wrote.
“My peers, both Democrats and Republicans, selected me to serve as the Vice Chair of the NGA, another reason why it’s hard not to see this decision as another example of blatant disrespect and a snub to the spirit of bipartisan federal-state partnership,” he continued. “As the nation’s only Black governor, I can’t ignore that being singled out for exclusion from this bipartisan tradition carries an added weight— whether that was the intent or not.”
He added that the move was “especially confusing” after just weeks earlier, he was at the White House working with a group of bipartisan governors to lower energy costs and strengthen grid reliability to great success despite being across partisan lines.
“We proved in that moment what’s possible when we stay focused on outcomes over politics,” he recalled. 
He noted that, as the Governor of Maryland and vice chair of NGA, he wasn’t going to change his approach or back down anytime soon. 
“I’m ready to work with the administration anywhere we can deliver results,” he explained. “Yet, I promised the people of my state I will work with anybody but will bow down to nobody. And I guess the President doesn’t like that.”
The Governor of Colorado, Jared Polis, was also disinvited, according to WUSA 9. 
The NGA 2026 winter meeting is scheduled to take place in Washington, D.C., beginning Thursday, Feb. 19 through Saturday, Feb. 21—the President’s dinner, a black-tie affair at the White House for the governors and their spouses, typically falls on the Saturday evening of the week.
While both Maryland and Colorado governors have openly pushed back against President Trump’s Adminstration since he regained office, others, including California Governor Gavin Newsom, who have been vocal in their opposition, still made the cut, WTOP reported.
A White House spokesperson speaking to ABC 7 said, “Many Democrats were invited to dinner at the White House, and others were not. These are White House events and the President reserves the right to invite whomever he wants.”
Meanwhile, Brandon Tatum, acting Executive Director and CEO of NGA, released a statement expressing his disappointment with the decision.
“The bipartisan White House governors meeting is an important tradition, and we are disappointed in the administration’s decision to make it a partisan occasion this year,” he said, per ABC 7. “To disinvite individual governors to the White House sessions undermines an important opportunity for federal-state collaboration. At this moment in our nation’s history, it is critical that institutions continue to stand for unity, dignity, and constructive engagement.”
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Aaliyah Steward said she was told by FAMU that she had to abbreviate Black History Month so that the word “Black” wasn’t visible.
Apparently, Florida Gov. Ron DeSantis has done such a thorough job of making his state a paradise for the white and eternally fragile that a historically Black university can’t use the word “Black” in flyers promoting its — *checks notes*— Black History Month event.
According to News 6, Florida A&M University law student Aaliyah Steward said she was told by her school that in her flyers promoting the event, she had to abbreviate Black History Month so that the word “Black” wasn’t visible, because it is one of at least three words and terms that got flagged by the school in compliance with legislation signed by DeSantis and reinforced by the State Board of Governors that prohibits the use of state or federal funds for Diversity, Equity and Inclusion (DEI) programs.
There you have it, folks — we have now reached the point in the journey to make white nationalism great again where even the acknowledgement of the existence of Black people and Blackness is considered a reverse-racist diversity initiative.
“It was ‘Black,’ ‘affirmative action,’ and ‘women’ as well,” Steward said, explaining what words were flagged.
“We couldn’t use the word ‘Black’ in Black History Month. We would have to abbreviate it,” she continued. “I was very angry and baffled because this is a Historically Black College and University, and for them to say we can’t use the word ‘Black’ was kind of insane.”
FAMU is not denying the allegation, as it made the following statement to News 6:
“Florida A&M University has consistently been in full compliance with Senate Bill 266 and Board of Governors’ Regulation 9.016. We support and have implemented the policy direction established by the Governor, the Legislature, and the Board of Governors as it relates to DEI, and consistent with related federal court rulings.
Florida Agricultural and Mechanical University (FAMU) is committed to fostering a campus community that encourages the free exchange of ideas while ensuring an environment of mutual respect, safety, and awareness. The University recognizes that freedom of expression is fundamental to academic inquiry, personal development, and civic engagement.”
Of course, none of this is surprising, coming from the state that had a “Black History Matters” mural removed last year, and the board of “education” that requires teachers to teach that enslaved people benefited from slavery and that Black victims of racial massacres also committed acts of violence. However, FAMU is disappointing here.
Even if one wanted to give the university a little grace for doing what it has to do to preserve its much-needed funding, it seems to have gone out of its way to state that “we support” the legislation that took the “Black” out of “Black History Month” to appease racist and perpetually aggrieved white people, many of whom are still taking to social media every year to ask why there’s no White History Month or historically white colleges. (*gestures widely towards the overwhelming majority of colleges and historical curricula throughout the existence of these United States*)
We have certainly lost the plot when Black college administrators are complying with white supremacy and voicing their “support” for doing so.
Do better, FAMU — because our oppressors never will.
SEE ALSO:
HBCU Students Caught Between Aid Cuts, Government Shutdown
Florida A&M University Receives $1.2M Endowment

FAMU Law Student Says She Was Told Not To Include ‘Black’ In Her Black History Month Flyers. FAMU Doesn’t Deny It was originally published on newsone.com

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The Trevi Fountain is a popular destination for tourists
Photo: Shutterstock
City authorities in Rome have introduced an entrance fee to six historic sites and museums, including the Trevi fountain, which now carries a €2 admission charge, in a bid to ease congestion and offset costs of preserving the capital’s heritage.
The Trevi fee was rolled out along with a new €5 tourist ticket fee (the Roma Mic card) for some of the city’s civic museums including the Napoleonic Museum and the Giovanni Barracco Museum of Ancient Sculpture. Residents of Rome are exempt from the fees.
“Starting 2 February, a new pricing system will take effect with the dual objective of encouraging Roman citizens to enjoy the museums, while maintaining the protection of the city’s vast cultural heritage,” says a statement from the city authority.
In December the city mayor Roberto Gualtieri said that the Trevi fountain will still be able to be viewed from a distance for free, but closer access will be only for ticket holders. He told Reuters news agency that “€2 isn’t very much … and it will lead to less chaotic tourist flows”.
According to the Guardian, the fee is forecast to bring in €6.5m a year which will be used to invest in the fountain and other monuments in the Italian capital. The coins tossed into the fountain will continue to be donated to charity. Access will be available to the famous fountain free of charge after 10pm daily.
In 2024 a temporary walkway was installed around the Trevi Fountain, while restorers cleaned the 18th-century monument. The fountain was emptied of water and cordoned off during the €300,000 conservation project overseen by the Capitoline Superintendency. The three-month cleaning project involved removing mould and calcium incrustations from the popular landmark. Visitors to the fountain have since been capped under a queuing system introduced by Gualtieri.
The Trevi, completed in 1762, is built on the rear façade of the Palazzo Poli and incorporates statues made of white Carrara marble. The fountain is considered a late Baroque masterpiece and has featured in a number of films, notably Federico Fellini’s La Dolce Vita (1960).

The introduction of an entrance fee has been proposed at the Rome landmark
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The woman was caught on video filling up her water bottle in the late Baroque masterpiece

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Bob Dockery
Courtesy of Bob Dockery
Bob Dockery Jr. is a radio and television producer, playwright, and former advertising executive. He was born in Tuskegee, Alabama, and then moved with his parents and sister to Louisville, Kentucky. While the family lived in Alabama, Dockery’s father, Bob Dockery Sr., was a prominent physician who practiced family medicine at the Army Air Force Base. The family soon left Alabama, and Dockery Sr. decided to leave his practice to study ophthalmology. He was the first Black ophthalmologist in the state of Kentucky. Dockery Jr.’s mother, Vera, was a homemaker who eventually went on to work at the elementary school Dockery attended with his younger sister.
From a young age, Dockery became familiar with living in the Jim Crow South. Most of the schools he attended while his family lived in Alabama, South Carolina, and Kentucky were segregated. During the third grade, Dockery Jr.’s teacher was Ms. Alberta Richie, Lionel Richie’s mother, whom he credits for teaching him the “King’s English.” A couple of years after the landmark Brown V. Board of Education, Dockery Jr. and his sister attended the newly integrated Parkland Junior High School in Louisville, Kentucky. Despite the displeasure some Black teachers expressed because of their enrollment, Dockery Jr.’s parents felt compelled to uphold the decision for integrated schools. Many Black families at that time agreed with that sentiment.
During this period, Dockery Jr. became increasingly involved with the Civil Rights Movement. He marched with friends throughout the city and got arrested one night with 300 other children who were protesting racial segregation. Dockery Jr.’s childhood experiences created a deep passion for highlighting stories about African American lifestyles and culture. He attended Morehouse College with a major in history and political science.
After graduation, he went on to work for Aetna Insurance in New York, where he integrated the previously all-white group division. This experience led to opportunities in building a successful track record in marketing and sales. He took on the role of Eastern Sales Manager for Shindana Toys, a black doll company, then briefly worked as an Ad Sales Manager for Ebony Magazine. Shortly after, Dockery Jr. decided to launch an advertising agency, Polymedia Advertising, along with his friend, Lee Triggs. The company produced highly successful Ad campaigns for clients such as Pro-Line, Curley Kit, Ralph Groceries and others. They then won a major account with the Los Angeles Department of Airports and launched the tremendously successful Flyaway Bus advertising campaign. After five years at Polymedia, Dockery Jr. and Triggs closed the company. Triggs went to work for Pro-Line and Dockery Jr. went to work for Columbia Pictures Merchandising as Director of West Coast Operations.
Dockery Jr. left Columbia in 1980 and started a radio production company, Only Just a Minute. This career shift was life changing for Dockery Jr. Since launching Only Just A Minute, he has launched groundbreaking programming highlighting African American culture around the globe. His first radio program was “Jazz Chronicles.” In 1982, he created the highly acclaimed, “King: A Musical Tribute,” hosted by Brock Peters. That program has aired for the past 30 consecutive years. The next project Dockery Jr. introduced was the highly acclaimed 24-hour radio epic, “The Music of Black America,” which was hosted by Lou Rawls and JJ Johnson. Dockery Jr. followed that successful program with, “Story of a People,” hosted by James Earl Jones and Alfrie Woodard. The program told the history of Black America with narration and music. Since 1980, Dockery Jr. has produced and aired more than 100 different radio programs.
Dockery entered television production in 1987, producing over 45 documentary episodes under the title “Story of a People,” which aired for more than 23 years. These documentaries highlight African American lifestyles and culture with topics ranging from education and civil rights to Hollywood and Broadway. Other television programs produced by Dockery Jr. included “The Other Side of Victory,” hosted by Arthur Ashe, James Brown and Robin Roberts, “Red, Hot and Cool,” hosted by Nancy Wilson, the special Black comedy, A Laugh/A Tear hosted by Whoopi Goldberg. Overall, Dockery Jr. has produced over 100 television programs that have aired worldwide. In 2008, Bob Dockery, Jr. produced a one-hour documentary for TV ONE entitled, “MLK- A Dream Deferred,” celebrating the legacy of Martin Luther King Jr. 40 years after his assassination.
In 2018, Dockery created a non-profit theatrical production company, Only Just A Minute Theater Company that now owns two stage plays: a musical entitled Aspirin – For One Less Headache, and a play entitled, Only Just A Minute, which is a drama about Benjamin E. Mays and his mentorship of Martin Luther King, Jr. Only Just A Minute had two successful runs in 2014 and 2015 at The South West Arts Center (SWAC) in Atlanta, and at the Florissant Civic Center Theater in St Louis, MO.
Dockery Jr. has served on several nonprofit boards including the International Children’s School, Communications Bridge, Crossroads, and the Museum of African American Art in Los Angeles. Currently, Dockery Jr. is working on his autobiography, ‘Swimming Upstream,’ and is planning a national theatrical tour for his play, Only Just A Minute. Dockery Jr. gives speeches around the country, is an avid traveler and enjoys singing jazz and playing golf.
Over time, Douglas Bender has held several leadership and board positions with for-profit and nonprofit organizations, including local industrial commission advisory boards and Chambers of Commerce. He serves as Chairman of the Board for MJC & Associates, Inc., a Houston, Texas-based mobile notary firm, and was a Board Member of Virtual Sports Training, Inc. (VST) of Orange County, California, a leading-edge sports technology corporation.
He served on the Executive Advisory Board for the Los Angeles chapter of the National Association of African Americans in Human Resources and as the Executive Program Coordinator for the California State University – Long Beach Human Resources Professional Certificate Program for eight years. He served on the national board of Sigma Pi Phi Fraternity for six years, chairing several national committees (including History & Archives), and is now Chairman Emeritus of Base 11, a national STEM nonprofit and workforce accelerator.
Doug served as a church Trustee for almost twenty years and was Vice President of the Friendship Development Foundation (community non-profit) board in Yorba Linda, California. He currently serves as Trustee of the Bender Family Trust administered by the American Baptist Foundation in King of Prussia, Pennsylvania. He also chaired the Villa Park (California) Community Service Foundation for five years, the first African American to be elected or appointed in the city’s history. He was Chairman of the Human Rights Commission of Greensboro, North Carolina, and was the inaugural Chair of the City’s Cultural Affairs Commission on which he still serves today.
Doug has been involved with the World Business Academy as a Fellow (2004- 2006), the International Neocasting Alliance as a Charter member (2005 – Present), Forbes.com Small Business Insights Panel member (2006 – 2010), and is a member of the Worldwide Network for Servant-Leadership (2009 – Present).
He has been an Adjunct Instructor at the heralded California State University campuses at Long Beach and Fullerton and has lectured many international business leadership delegations from around the world, including The Peoples Republic of China. He is currently an Adjunct Associate Professor at the University of Southern California’s Bovard College and a visiting lecturer to the Marshall School of Business Leadership Fellows Program.
Along with many published professional articles written over the course of his career he has also published the award-winning book, The ABC’s of Leadership in 2008 (Axiom Business Book Awards) and a second book, Caution: Smiles at Work (lulu.com, 2014). In addition, he is a Contributing Author to the bestseller, The Leadership Challenge Activities Book by Kouzes and Posner (Pfeiffer, 2010).
Doug appears in several regional, national, and international editions of Who’s Who. He and his wife, Belinda, have eight adult children and thirteen grandchildren.

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CITE THIS ENTRY IN APA FORMAT:

Bender, D. (2025, September 16). Bob Dockery Jr.. BlackPast.org. https://blackpast.org/african-american-history/bob-dockery-jr/
“Bob Dockery Jr. Bio—When Bob Dockery Was a Child, His Parents Would Tell Him That T…” Only Just a Minute Stage Play, Facebook, 12 May 2017, www.facebook.com/onlyjustaminutestageplay/posts/bob-dockery-jr-biowhen-bob-dockery-was-a-child-his-parents-would-tell-him-that-t/1443865895902887/. Accessed 27 Aug. 2025.
IMDb. “Bob Dockery Jr.” IMDb, www.imdb.com/name/nm0229999/. Accessed 27 Aug. 2025.
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This post is the most comprehensive guide I’ve ever created for Miami Art Week. I spent many hours this past week in deep research so I hope you find it helpful. Before we dive into the booths, events, and so much more, l want to acknowledge the history of Miami Art Week.
Every December, Miami, Miami Beach, Wynwood, and Coral Gables transform into the center of the global art world, hosting over 20 major art fairs, more than 1,200 international galleries, and thousands of artists. What began with Art Basel Miami Beach has rapidly evolved into Miami Art Week, widely recognized as the largest annual celebration of contemporary art and culture in the world.
A few years ago, I attended Art Basel for the first time, and the experience was absolutely breathtaking. It was my introduction to a major international art fair, and stepping inside felt like entering an entirely new world. That moment became one of the reasons I’m so passionate about helping democratize the art world as art and experiences surrounding art should be for everyone. I hope you find something valuable in this post and please feel free to share with others that are going to Miami Art Week or contemplating.
This events guide is not a sponsored post, and I have no affiliation with the mentioned event organizers, artists, and galleries unless specified.
Booths to Explore (Black Artists & Black-Owned Art Galleries)
NADA Miami – Dec 2 – 6
Southside Contemporary Art Gallery showing works from artist Huey Lightbody at Booth B201 *
SCOPE Art Show – Dec 2 – 7
Artist Emmanuel Gillespie at Booth B13 represented by Pencil on Paper Gallery *
Untitled Art Fair – Dec 3 – 7
Artist Leroy Campbell at Booth A84
Artist Nola Ayoola works at Booth #N23 represented by Cierra Britton Gallery
Art Basel – Dec 5 – 7
New works by Debra Cartwright in the Nova section at Booth N18 represented by Welancora Gallery
*= Worked on a project together
Local Miami Black Art Gallery Spotlight
N’Namdi Contemporary Miami – Jumaane N’Namdi, director of N’Namdi Contemporary Miami focuses fusing the masters with mid-career and fresh emerging talent, creating an international array of unique artists. Worked to place art works in permanent collections as well as exhibits works from his personal collection with institutions such as: Art Institute of Chicago, The Detroit Institute of Arts, Pérez Art Museum Miami, The Smithsonian, Smithsonian’s National Museum of African American History & Culture, The Studio Museum of Harlem, and the Virginia Museum of Fine Art to name a few.

After attending Art Basel a few years ago, I visited his gallery and wrote about the experience. I’m a big believer in supporting local Black art galleries when I travel, so if you don’t already do so, I hope you’ll consider it in the future. The gallery will be hosting an exhibition and a celebration event during Miami Art Week. 
Dec 3, Group exhibition featuring a special collection of works from artist Rashid Johnson ‘ Seeing in the Dark’, and Dec 5, exhibition celebration at the gallery, including a fish fry (do not miss it!)

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Bad Bunny used fashion as a tool to pay homage to Puerto Rico and America during his Super Bowl LX Halftime Show performance.
Bad Bunny’s Super Bowl LX Halftime Show delivered on every level. The performance was electric, immersive, and unapologetically cultural, grounding its spectacle in a powerful tribute to his Puerto Rican heritage and America through fashion.
Opening the 13-minute set, Bad Bunny, born Benito Antonio Martínez Ocasio, launched into “Titi Me Preguntó” as he stepped onto the field wearing a crisp white jersey, tailored slacks, and laid-back sneakers. According to Vogue, the look struck a balance between ease and intention. Designed by Zara and worn throughout the show, the jersey became a central visual statement. The outfit featured a collared shirt, tie, and a sport-inspired jersey emblazoned with “Ocasio—Bad Bunny’s last name– along with the number 64 on the front and back.
Fans were quick to speculate about the significance of the number. Some believe 1964 marks the birth year of his mother, Lysaurie Ocasio, while a report from Complex suggests it honors his late uncle, a football player who wore the same number. 
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The rest of the ensemble—white chinos and the artist’s “BadBo 1.0” sneakers, created in collaboration with Adidas—was intentionally understated, steering clear of team affiliations, but elevated the look perfectly. Later in the show, Bad Bunny kept the white theme going strong, layering a gleaming white double-breasted blazer over his jersey during a playful wedding-themed segment featuring Ricky Martin and Lady Gaga.
As the first halftime headliner to perform entirely in Spanish, Bad Bunny’s partnership with Zara—a Spain-based brand—felt both unexpected and deeply symbolic. The moment marked Zara’s first time outfitting a performer on such a massive scale.
“It was an amazing show,” the brand gushed in a statement, according to Vogue. “Benito put on a memorable performance. What a great outfit.”

Beyond fashion, the all-white styling carried layered meaning. Many fans pointed out that the color palette extended far beyond aesthetics, touching on Puerto Rican cultural traditions and broader social commentary. Some interpreted Bad Bunny’s white gloves in particular as a response to the anti-immigrant and anti-civil rights rhetoric circulating in the U.S. under the Trump administration.
One Spanish-speaking fan wrote that “in a world where hate is fashionable,” Bad Bunny answered with “white gloves”—a symbol of care and service meant to convey “love and unity” and the message that “We are all America.”
The gloves were styled alongside other luxury accents, including a Royal Oak timepiece by Audemars Piguet, Vogue noted. The 37mm watch boasted an 18-karat yellow gold case and a malachite stone dial. Some viewers read the choice of white as a quiet cultural rebuttal to the Republican “White American Dream” narrative that has grown more pronounced over the last year under the current administration.
White also holds deep cultural resonance in Puerto Rico. According to national sources, the Puerto Rican flag’s white stripes symbolize individual liberty and human rights, while the white star represents the island itself. In Santería (Lucumí), all-white clothing signifies spiritual purity, renewal, and devotion, particularly for those entering the priesthood, who are required to wear white for an entire year. Across Afro-Puerto Rican traditions, white is viewed as a form of protection, reflecting negative energy while welcoming peace and blessings. Traditional Bomba dance attire further reinforces this symbolism, with dancers dressed predominantly in white.
Bad Bunny’s unapologetic celebration of culture on one of America’s biggest stages did not go unnoticed—or unchallenged. The performance reportedly upset former President Donald Trump, who took to his Truth Social platform to criticize the Grammy-winner’s Halftime Show performance. 
“The Super Bowl Halftime Show is absolutely terrible, one of the worst, EVER! It makes no sense, is an affront to the Greatness of America, and doesn’t represent our standards of Success, Creativity, or Excellence,” Trump wrote. He continued, taking aim at the Spanish-language performance: “Nobody understands a word this guy is saying, and the dancing is disgusting, especially for young children that are watching from throughout the U.S.A., and all over the World.” He added: “This ‘Show’ is just a ‘slap in the face’ to our Country.”
But backlash is often the cost of boldness. When you’re making history and standing firmly in your identity, resistance comes with the territory. Bad Bunny did exactly that—and then some. Super Bowl LX was unforgettable, and his halftime show was a moment of pride, culture, and defiance that resonated far beyond the field. We loved every minute of it! 
DON’T MISS…
Bad Bunny Was Right—We Danced During His Entire Super Bowl LX Performance
Bad Bunny Isn’t Waiting Until The Super Bowl To Show Off His Swag, Rocks Cartier & Bottega Veneta During A Press Stop
How Bad Bunny’s Super Bowl Halftime Show Fashion Told A Cultural Story was originally published on hellobeautiful.com

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Analogue art: Gregor Hildebrandt’s inventive portrait of Luis Barragán uses cassette cases with custom-printed inlays to form a gridded image of the Mexican architect inside a wooden case Photo: Roman März
Gregor Hildebrandt: Gilardi Lilien
Casa Gilardi
3-28 February
Taking over the colourful Casa Gilardi, Luis Barragán’s last commissioned residence, built for the advertising executive Francisco Gilardi in the mid-1970s, the German artist Gregor Hildebrandt transforms the house’s stylish rooms with an ever-expanding exhibition of his enigmatic works across various media. Known for transforming outmoded analogue recording media—including audio cassettes, VHS tapes and vinyl records—into paintings, sculptures and large-scale installations, the Berlin-based artist’s conceptual works explore themes of memory, nostalgia and the physical representation of intangible sound and sight.
Presented by Mexico City’s Saenger Galería, the survey Gilardi Lilien (Gilardi Lilies) features more than 40 poetic works created between 2005 and 2025. Hildebrandt’s first major one-person exhibition in Mexico follows a solo stand with Perrotin at Zona Maco in 2019 and a two-person show with Alicja Kwade at the Museo de Arte de Zapopan in Guadalajara in 2023. This lively presentation features several of the artist’s signature Rip-off paintings and Brâncuși-like shaped record columns, in both vinyl and bronze, as well as a cassette-shelf portrait of Barragán.
The inventive Rip-off works, his painterly compositions created by transferring the magnetic coating of audio or videotape onto canvas with adhesive, include contrasting light and dark versions of a horse standing in a pond (a reference to Barragán’s love of riding and his famous Cuadra San Cristóbal equestrian complex) and a suite of works depicting a goat leaping for leaves on a tree, a reference to an ancient Persian vessel whose repeated imagery is considered the world’s oldest animation. Hildebrandt’s portrait of Barragán combines cassette cases with custom-printed inlays to form a gridded image inside a wooden case, which relates to a Mies van der Rohe portrait he created for a 2021 exhibition at a Berlin house designed by the German architect. Meanwhile, a new bronze work depicting an enlarged knight piece from a chess set reflects Barragán’s interest in horses and Hildebrandt’s love of the game. P.L.
Laura Anderson Barbata’s Untitled (1996), on view in the Museo Tamayo exhibition Photo by Pierre Le Hors; courtesy Museo Tamayo
Wayamou: Lenguas de lo común
Museo Tamayo
6 February-10 May
This two-artist exhibition’s title, wayamou, is a word from the language spoken by the Yanomami, an Indigenous community living in the Amazon rainforest along the border between Brazil and Venezuela. It refers to a type of ceremonial conversation between two people aimed at overcoming conflicts and maintaining peace.
It is especially apt for the Mexican artist Laura Anderson Barbata and the Yanomami artist Sheroanawe Hakihiiwe, who have been in a productive dialogue for more than three decades. They first met when Anderson Barbata learned traditional canoe-making techniques from the Ye’kuana community in Mahekoto-Theri (Platanal) and, in return, gave a community workshop on making paper with natural fibres, which Hakihiiwe attended and ultimately inspired him to become an artist. His paintings and drawings on handmade paper have only grown in scale and formal complexity since, including a selection depicting Amazonian animals and plants that was featured in the central exhibition at the 2022 Venice Biennale. Anderson
Barbata’s work, meanwhile, spans sculpture, textiles, works on paper, dance and street processions that address political, environmental and social justice issues. Both artists, fundamentally, are interested in how their work can spark conversations and deeper understanding regarding our relationships to our natural surroundings and each other. B.S.
Still from Nour Bishouty’s new film Catfish Mother Puddle of Juice (2026), which was shot across Mexico City and Toronto Photo by Melissa Nocetti; courtesy of the artist and Cooper Cole, Toronto
Nour Bishouty: Unlikely Mother
Museo Universitario del Chopo
Until 24 May
Since joining the Museo Universitario del Chopo as its chief curator last year, Miguel A. López has developed a unique curatorial programme for this storied university museum that is focused on drawing connections with Central America, championing trans voices and promoting artists from the Arab world and its diasporas. For Art Week, and in line with this vision, the museum’s cavernous central space will be devoted to the Jordanian-born artist Nour Bishouty’s solo exhibition Unlikely Mother, which offers an exploration of lineage, maternal relations and bodily expression.
Bishouty, whose work has been shown at the Liverpool Biennial and Art Jameel, is broadly interested in the mechanisms of memory, the construction of knowledge and the aftereffects of misunderstanding. In Unlikely Mother, she explores these topics through familial relations: specifically, the bond between mother and daughter. “Although it is not about my mother, she is certainly at the genesis of the work,” Bishouty says. The show’s anchor, A Catfish, a Mother, and a Puddle of Juice (2026), is both a film and video installation narrated by a catfish, a hybrid creature with an unusual evolutionary genealogy that inspired the structure of the film’s story. Shot in both Mexico City and Toronto, the film slips between languages, geographies and multiple actors playing the same character to construct a narrative about the ambiguity of belonging.
The rest of the works in the exhibition relate to the shape and expressiveness of human hands, perhaps one of the most distinctive human features. “I was thinking about questions of the body and how it is read,” Bishouty says. Her videos of hand shadows and gestures, gloves with irregular finger placement and hand trace drawings stem from her own mother’s experience with symbrachydactyly, a rare limb anomaly that results in missing fingers, and the childhood stories that sought to explain the cause of it. M.C.B.G.
Néstor Jiménez’s La yunta (2025), made of concrete and oil on plywood Courtesy of the artist and Proyectos Monclova Gallery
Néstor Jiménez: One in a Million
Museo Universitario Arte Contemporáneo
Until 3 July
Among Mexican artists navigating their early- to mid-career years, solo exhibitions at the Museo Universitario Arte Contemporáneo (Muac) or Museo Tamayo had been, until recently, a rarity. Néstor Jiménez’s One in a Million at the Muac demonstrates how, at the top-tier museums for contemporary art in Mexico, programming is shifting towards a younger, local generation whose work responds to the historical conditions and social context of Mexico in the late 20th and early 21st centuries. It is also Lucía Sanromán’s first curated show at the Muac since joining the museum as chief curator in 2024.
Jiménez spent his formative years creating work about self-governing labour movements in the satellite cities and peripheries of Mexico City, and exploring ways of depicting the city’s tradition of autoconstrucción (self-build). For his solo show at the Muac, he has created a new body of work around the concept of an everyman: an urban, working-class, day-job hunter whose primary responsibility is providing for his family and getting by.
Through collages sourced from classified job listings, ceramic sculptures of empty stomachs and a series of paintings of the exteriors of households in mourning, Jiménez reflects on a wide array of social ills plaguing the city’s impoverished working class. “I noticed there were a lot more black ribbons,” the artist says about the streets surrounding his studio, which inspired Hibiscus, a series of paintings. “They speak to the violence that affects the neighbourhood.” Each of the 12 works is painted a different shade of blue to mark the passing of the evening hours and includes a black ribbon above a door hinge.
The idea for the show emerged from a posthumous portrait Jiménez sketched after attending his father’s funeral remotely in the years following the pandemic. A formal, finished version of the portrait hangs in pride of place at the Muac. M.C.B.G.
Sanromán has an ambitious agenda for the Museo Universitario Arte Contemporáneo that includes repairing its fractured relationship with the local community
The German city is hosting the first major European exhibition of her paintings, which are barely known outside her adopted country of Mexico
The exhibition at the Museo del Palacio de Bellas Artes traces the 99-year-old Mexican artist’s unique and dynamic approach to the human figure and highlights her work as a cultural organiser
A rising movement calls for housing reform in Mexico’s largest and most expensive city, but vandalism by disruptive groups has weakened its cause

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Museum Art Associate

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