Pan American Art Projects is pleased to present It Wasn’t a Dream, It Was a Flood, a solo exhibition by Miami-based artist Chantae Elaine Wright, curated by Claudia Taboada. The exhibition will open on April 6, 2025, and run through June 7, 2025, at our Little River gallery (274 NE 67th Street, Miami, FL 33138).
This body of work by Wright explores the complex layers of memory, trauma, and resilience, using abstract forms and emotive visual language to depict the tumultuous nature of personal and collective experiences. Her mixed-media pieces are a response to societal upheavals, bringing forth powerful reflections on identity, history, and transformation.
The title of this exhibition, It Wasn’t a Dream, It Was a Flood, draws inspiration from Frank Stanford’s film, a poetic narrative that mirrors the surrealism and raw emotional intensity present in Wright’s paintings. Like Stanford’s cinematic world, Wright’s canvases refuse linearity; they exist in a space where time dissolves, and history, both personal and collective, seeps through in waves of color and form.
It Wasn’t a Dream, It Was a Flood invites viewers to witness Wright’s compelling exploration of how personal and cultural floods—whether literal or metaphorical—shape who we are and how we navigate the world. Through this exhibition, Wright challenges the boundaries of traditional painting and invites a closer dialogue between the viewer and the raw intensity of the subject matter.
Pan American Art Projects presents Pétits: Women Artists Redefining Scale, an exhibition challenging the notion that bigger is always better. Featuring women artists who embrace small formats as acts of resistance and poetic strength, Pétits proves that powerful social and political commentary does not require vast canvases—only thought, precision, and intent.
Historically, women’s struggles have been overshadowed by larger political movements, with domestic violence, pay disparities, and reproductive rights often rendered invisible. Likewise, women’s unpaid labor sustains economies while remaining undervalued. Pétits challenges this imbalance, amplifying voices often overlooked simply because they do not conform to dominant narratives of power.
Women artists have long used the small, the fragile, and the ephemeral as radical tools, as seen in exhibitions like Radical Women: Latin American Art, 1960–1985 (Hammer Museum, 2017) and Women House: Femme Maison (NMWA, 2018). Continuing this legacy, Pétits presents works that demand intimacy and a shift in perspective, celebrating the power of subtlety and detail. Featuring artists Carola Bravo, Lorena Gutiérrez Camejo, Susana Pilar Delahante Matienzo, Paola Mondolfi, Ana Mendieta, Elsa Mora, Grethell Rasu, Sandra Ramos, Carolina Sardi, and Leticia Sanchez Toledo, the exhibition underscores the immense impact of small-scale art.
Pan American Art Projects was established in 2001 with the mission to exhibit and promote established and emerging artists from North, Central and South America, providing a context for dialogue between the various regions. We represent a strong roster of contemporary artists of the Americas and hold a collection of important works from Cuba, Argentina, the U.S. and the Caribbean. Our programming reflects these complementary arenas providing a comprehensive historical context for contemporary tendencies in the visual arts from these regions.
The gallery was born from the personal collection of our owner, Robert Borlenghi, who as a founding member of MOCA Los Angeles made his first trip to Haiti in 1990 and found many great artists that were relatively unknown to collectors in the U.S. He made it his mission to collect and exhibit underrepresented artists from Haiti, Jamaica and later Cuba. This mission then transferred to our gallery when we opened in Dallas in 2001, when we began adding actively represented artists from North and South America.
Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
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