"Sol LeWitt x 2": Sol LeWitt earned himself a place in history books as one of the Johnny Appleseeds of the minimal and conceptual art movements during the Sixties. He's also among the most prolific artists of the mid-Twentieth Century. "Sol LeWitt x 2," a two-part exhibition at the Miami Art Museum (MAM), offers fertile ground to explore both the artist's influential work and the contemporary art collection he has created over the past 50 years. Featuring 45 works on paper and sculptures, "Sol LeWitt: Structure and Line" provides a broad look at the artist's oeuvre, spanning from his early grid-based modular constructions of the Sixties to his recent series of Scribble drawings making their debut at MAM. — Carlos Suarez de Jesus Through June 3. Miami Art Museum, 101 W. Flagler St., Miami. Call 305-305-375-3000, or visit www.miamiartmuseum.org.
"Merce Cunningham: Dancing on the Cutting Edge Part 2, Daniel Arsham": MoCA's much-ballyhooed salute to the avant choreographer culminates with a turbo-charged bang at its Wynwood annex space. This exhibit focuses on Merce Cunningham's eyeSpace, a collaboration with Miami artist Daniel Arsham and composer Daniel Berman, which premiered at the Carnival Center for the Performing Arts this past February. The set Arsham designed for eyeSpace anchors the show. In ODE/EON, Arsham used forced perspective to create a set resembling the façade of an art deco movie theater, with the top half suspended overhead and the lower section crashing through the stage. A huge neon marquee rips like a steamer's prow through a wall. Arsham has also recreated the performance's lighting in the space for dramatic effect and included a series of gouache on mylar studies inspired by his tête-à-têtes with Merce during the legend's South Florida debut. The electronic soundtrack of Berman's score, Long Throw, pierces the air, adding a haunting note to the affair. — Carlos Suarez de Jesus Through June 23. MoCA at the Goldman Warehouse, 404 NW 26th St., Miami. Call 305-893-6211, or visit www.mocanomi.org.
