MIAMI, FLA.- VISU Contemporary, Miami Beach’s leading contemporary art gallery, is presenting My Silence Is Made of Explosions, a group exhibition of contemporary women artists whose work extends Surrealism into the psychological, political, and aesthetic urgencies of the present. Featuring 28 works by Aïda Muluneh, Jen DeNike, Elena Dorfman, Patricia Voulgaris, Pixy Liao, Tania Franco Klein, Dora Maar, Zanele Muholi, and two collaborative works by Jen DeNike and Barbara von Portatius. The exhibition positions Surrealism not as a historical artifact, but as one of the most vital and enduring methodologies in contemporary art. My Silence Is Made of Explosions is on view March 19-May 31, 2026.

“Surrealism was never about escape,” says curator David Raymond. “It was about confrontation—about accessing truths that rational systems cannot contain. These artists demonstrate that Surrealism remains one of the most effective tools we have for engaging with the psychic, political, and emotional conditions of contemporary life.”

More than a century after the publication of Manifesto of Surrealism in 1924, the movement’s insistence on ambiguity, subconscious experience, and instability of meaning feels newly urgent. In an era shaped by image saturation, technological certainty, and political volatility, the works in My Silence Is Made of Explosions reject fixed narratives in favor of images that are unresolved, intimate, and psychologically charged.

Photography occupies a central paradox within this lineage. Traditionally associated with evidentiary truth, the medium here becomes a site of deliberate destabilization. Through constructed scenes, symbolic gestures, and performative presence, the artists transform photography into a threshold between the visible world and interior states of being.
“These artists use photography against itself,” says co-curator and VISU Contemporary founder Bruce Halpryn. “What looks factual becomes fictional; what appears staged feels emotionally precise. The result is work that feels both deeply personal and politically resonant—images that linger because they refuse to explain themselves.”

While women were central to Surrealism’s imagery from its inception, their authority within the movement was often marginalized or constrained. My Silence Is Made of Explosions does not position its artists as historical corrections, but as decisive voices shaping Surrealism’s contemporary evolution—where identity, power, intimacy, and resistance intersect.

“Silence, in this exhibition, is never passive,” Raymond adds. “It accumulates pressure. It carries memory. It signals the moment before rupture.”

As observed in The Wall Street Journal, “the best works of art, Surrealist or not, are as elusive as our dreams.” My Silence Is Made of Explosions embraces that elusiveness, inviting viewers into a realm where certainty dissolves and psychological truth takes precedence. In doing so, the exhibition reaffirms Surrealism’s enduring power to unsettle perception—and to reveal what lies beneath the surface of the visible world.