The challenge was to work within a tight timeframe while maintaining rigorous curatorial standards—as we spoke to Shamim she was driving a pick-up truck from Home Depot. Artist Rob Pruitt had just driven 36 hours to deliver his contribution. The looseness of the exhibition has its benefits: at the opening, Terence Koh will serve as a “conceptual DJ,” though it’s unclear what that entails. Says Momin, “We can do what we want … we don’t have to put in a catalogue.”



Name: Shamim M. Momin
Position: Adjunct Curator, Whitney Museum
Project in Miami: The Station
Number of years attending Miami: 5, I think
Home City: New York/Los Angeles

One fair you are looking forward to:
I don't really "look forward" to the fairs to be honest, even while there are obviously great things among them. I do look forward to the other things that happen around them, like Jens [Hoffmann’s] performance program for the big fair.

One thing you cannot miss: Outside of my own gig, from what I hear the thing I can't miss is a trip to Jimbos [seasfood shack]. I can't believe I've never been.

The first thing you will do in Miami: I get there today, almost two weeks prior, for installation, so the first thing I'm doing is watching trucks unload and starting to place work. It's pretty much my favorite thing in the world, so I can't wait.

One thing you had to bring: My purple Saucony running shoes. I never go anywhere without them—it’s my therapy.

One party you are looking forward to: Marilyn Manson's art debut, called Trismegistus. Mostly because I really want to meet him.

Your best Miami memory: Swimming, ocean, full moon (probably making up that
last one, but it fits the type of evening). Second runner up: things that happen
at The Deuce that you can't print. Ha!

Your forecast: A smarty pants friend of mine said she hoped to see a kinder, gentler Miami this year, and I second the motion. Historically, it's exactly these moments when artists have space and pressing need to make great work. I'm going to sound terrifyingly earnest, but I am hoping to see the art community push to be that again—a community—or else it will fracture irreparably. Like many other people, we had to trim our show budget, but we were able to maintain essentially every artist project we'd planned, due to the generosity and passion of the artists and gallerists, and the intense work and commitment of the Station team. It's heartening, and maybe even predictive.