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The Margulies Collection at the Warehouse is a nonprofit institution located in a 50,000 square foot retro-fitted warehouse in the Wynwood Arts District of Miami. The Warehouse presents seasonal exhibitions from the collection of renowned collector Martin Z. Margulies as well as educational programs, special exhibitions and an international loan program. The Warehouse is operated and funded by the Martin Z. Margulies Foundation, a thirty-year resource for the study and enjoyment of the visual arts. 

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History

In 1998, Martin Z. Margulies along with his longtime curator Katherine Hinds began looking for a suitable space to display the growing collection of photography, video and installation works, and sculpture of the Margulies Contemporary Art Collection. In 1999, the first phase of the Margulies Collection at the Warehouse opened to the public with an event to benefit the Lowe Museum at the University of Miami. After a series of expansions, the Warehouse now comprises 50,000 square feet of exhibition space with set hours each week. The Warehouse is open to the public October–April, during which time we welcome thousands of students and visitors from all over the world. 

 

 

 

The Warehouse has presented some of the most significant artists of the 20th and 21st centuries including Joan Miró, Isamu Noguchi, Willem de Kooning, Jasper Johns, Claes Oldenburg and Coosje van Bruggen, George Segal, Roy Lichtenstein, Andy Warhol, John Chamberlain, Tom Wesselman, James Rosenquist, Frank Stella, Sol LeWitt, Richard Serra, Donald Judd, Tony Smith, Jannis Kounellis, Pier Paolo Calzolari, Mark di Suvero, Michael Heizer, Richard Long, Nancy Rubins, Song Dong, Anselm Kiefer, Amar Kanwar, Do Ho Suh, Olafur Eliasson, Ernesto Neto, Susan Philipsz, and Franz West. Photography exhibitions have included the Vkhutemas and Bauhaus schools, Albert Renger-Patzsch, August Sander, Walker Evans, Helen Levitt, William Eggleston, Cindy Sherman, Stephen Shore, Thomas Struth, and Thomas Ruff, Doug Aitken, and Jeff Wall. 

Reviews

“Here, time slows considerably and the sediment of art worlds past is visible…the impassioned indifference to the distinctions between mediums is inspiring. A lingering thought: more museums should try this at home.”

- Roberta Smith, The New York Times

 

“Huge spaces, soaring ceilings, and imposing works of art put everyday life on pause. This space is its own world. One wanders from work to work, responding to their size and character—which often means walking around them or even inside them—while wondering in the back of one’s mind, What is beyond? The works and the spaces they inhabit are of a size that impact one’s body as well as eyes, mind, and emotions.”

- Michael Danoff, lecturer, writer and art advisor, adjunct professor at NYU’s Steinhardt School

 

“The juxtaposition of…works in the Warehouse is part of what gives this collection a feeling that is in itself alive, breathing, and constantly forming itself…The Margulies Warehouse’s crackling but never unruly, mix of spectacle and intimacy, of formalistic severity and humane politics give it that life…”

- Peter Plagens, Art Critic, WSJ

 

“My visit to your space was the single most inspiring experience I have ever had with contemporary art…the quality of the works was remarkable and the sensitivity (and daring) of the relationships between them was inspired.”

- Keith Davis, Senior Curator of Photography at the Nelson-Atkins Museum of Art

 

“Martin Margulies follows his instincts and step by step unearths clues that lead him to figure out the motivations behind artists and their work. It is his persistent research, coupled with a terrific eye, that gives him a clear head as he decides what to acquire, decisions he makes entirely on his own.”

- Barbara London, curator, writer, and sound art activist, founder of the video collection and exhibition program at the Museum of Modern Art, New York, author of Video/Art, The First Fifty Years (Phaidon, 2020)

 

“Less by the book and more inclusive than most, the Margulies Collection offers up twists and turns as often as it tracks stylistic or thematic links.”

- Marvin Heiferman, curator and writer, adjunct professor at the School of Visual Arts, New York and Bard College

Donations to Educational Institutions

Frank Stella Taboehan, 2003

Frank Stella
Taboehan, 2003
New World Symphony, Miami, Florida

Frank Stella Le Neveu de Rameau, 1974

Frank Stella
Le Neveu de Rameau, 1974
Lowe Art Museum, University of Miami, Coral Gables, Florida

Linda Howard Kuan, 1976

Linda Howard
Kuan, 1976
University of Miami, Coral Gables, Florida

Alexander Liberman Argosy, 1980

Alexander Liberman
Argosy, 1980
Florida International University, Miami, Florida

Kehinde Wiley Saint John the Baptist, 2014

Kehinde Wiley
Saint John the Baptist, 2014
National Museum of African American History and Culture

Thomas Hirschhorn Diorama, 1997

Thomas Hirschhorn
Diorama, 1997
ICA, Miami, Florida

Ann-Sofi Siden Station 10 and Back Again, 2001

Ann-Sofi Siden
Station 10 and Back Again, 2001
ICA, Miami, Florida

George Rickey Horizontal III, 1973

George Rickey
Horizontal III, 1973
Seattle Art Museum, Olympic Sculpture Park, Washington

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