Tomas Redrado Art, in collaboration with Rolf Art, is pleased to present Pull Up To The Bumper, an exhibition of photographs by Ricardo Martínez Paz drawn from his extraordinary archive documenting Parisian nightlife of the late 1970s and 1980s. The exhibition marks the gallery’s inaugural presentation in its new Allapattah space and introduces a body of work that captures one of the most fertile cultural ecosystems of the late twentieth century.
Moving fluidly between roles as stylist, journalist, performer, and photographer, Martínez Paz occupied a singular position within that milieu. Rather than documenting nightlife from the outside, he photographed from within it — as participant, witness, and collaborator. His images capture designers, performers, club interiors, and an LGBTQ+ community that forged its own languages of freedom, desire, and presence during a period of intense cultural transformation in Paris.
Pull Up To The Bumper reveals nightlife not merely as spectacle but as a space of invention. In Martínez Paz’s photographs, the nightclub becomes a laboratory where identities are constructed, tested, and performed. Fashion, music, performance, and sexuality collapse into a single visual field where glamour, experimentation, and risk coexist. Bodies move between anonymity and theatricality, producing images that are at once intimate documents and cultural artifacts.
The project has been developed together with curator and researcher Sol Miraglia, who has been working closely with Martínez Paz’s archive. Miraglia’s engagement with the material began through a chance encounter: stranded in Ricardo’s Montmartre apartment during the pandemic, surrounded by thousands of slides and negatives accumulated over four decades, she discovered an intimate and expansive universe of late twentieth-century Parisian nightlife.
Together with Martínez Paz — and now with tomas Redrado Art and Rolf Art — Miraglia is shaping and expanding this remarkable archive into new forms of visibility. The project brings renewed attention to a body of work composed of more than ten thousand slides, one hundred rolls of 35mm negatives, and hundreds of Polaroids documenting nightclubs, designers, performers, and communities that built their own cultural codes in Paris. In this sense, the archive operates as both historical record and living material — a resistance against oblivion and an invitation to reinterpret the past from the present.
This exhibition represents the first public chapter of a broader research and exhibition project dedicated to the archive. In parallel, Tomas Redrado Art and Rolf Art are currently developing a presentation of this material across both galleries locations and fairs, positioning Martínez Paz’s work within contemporary conversations around photography, archives, and queer cultural history.
Ricardo Martínez Paz (b. Argentina) lived and worked for decades in Paris, where he became an active participant in the city’s nightlife, fashion, and cultural scenes during the late twentieth century. Working across photography, journalism, styling, and performance, his practice produced an expansive visual chronicle of a generation that redefined the relationship between identity, fashion, and nightlife culture. His archive remains one of the most vivid visual testimonies of Parisian nightlife of the 1970s and 1980s.
This exhibition inaugurates a new chapter for Tomas Redrado Art in Miami with the opening of its new space in Allapattah and the appointment of Greg Schneider as Director of the gallery’s Northern Platform. From this expanded base, the gallery will present a program of seven exhibitions throughout the year, reinforcing Miami as a central site within its transnational structure.
The program unfolds across the gallery’s interconnected locations in Buenos Aires, Miami, and José Ignacio, bringing together artists whose practices move between local specificity and international dialogue. Rather than treating geography as a boundary, the program operates through circulation — of artists, ideas, and collaborations — allowing projects to evolve across contexts and audiences. This structure reflects the gallery’s broader vision: a year-round program that links exhibitions, residencies, institutional collaborations, and international fair presentations. The new space in Allapattah becomes a platform where these trajectories converge, situating Miami within a network that remains regionally rooted while actively engaging global conversations.
is committed to promoting the appreciation and recognition of contemporary art through a dynamic and historically grounded aesthetic. Since its founding in 2022, the gallery has worked to build a vibrant artistic community, representing emerging and mid-career artists from Latin America whose works explore the boundaries of form, texture, and materiality. Through sustained and dedicated engagement with contemporary practices, TRA aims to position its artists’ productions within the international art circuit.
TRA challenges conventional perspectives and encourages the exploration of innovative artistic forms, prioritizing the creative autonomy of artists and fostering an environment where breaking boundaries and engaging closely with the public are central.
With headquarters in Miami and José Ignacio, a temporary programming in Buenos Aires, and a forthcoming new location in the same city, TRA seeks to foster dialogue between local and international art scenes. Its mission is to create meaningful exchanges that reaffirm its commitment to connecting the region’s cultural richness with the global stage, generating an impact that transcends borders through a program that is rooted yet constantly moving and evolving in dialogue.
In 2025, TRA consolidates this vision by participating in five key international art fairs — arteBA, ArtBo, BA Photo, Paris Photo and NADA Miami — expanding visibility and collecting opportunities for its artists and strengthening its presence in the global contemporary art scene.
