CH: Exactly. He comes from an advertising background, working for print media in New York. What he did was he brought an assistant with him and they set up reflectors and lights, make up, and one guy would watch all the equipment and the artist would go out and find some one (to photograph). Heí­d said, ‘If I give you 30 bucks would you pose for me.í­ So heí­s really playing with publicity stills, in this harsh, direct, sharp lighting, and sultry pose. Then you have the natural light (in the background), I just love that kind of thing, when its dusk, and then the car lights and the street lights are seen.

JP: What about Todd Hidoí­s photo?

CH: Ití­s funny because it looks like a quaint cabin out in the woods. It feels like it could be on a calendar. When you get really close it's a suburban tract home. Again, he's playing with how you read things: from a distance you get a view, when you get close you see all these homes next to one another, maybe they are condos, and the feeling of the piece changes.

JP: Wendy Wisherí­s work was projected outdoors against the Miami Herald's building.

CH: Yes, this is a photograph of the projection. We put in a proposal for it last year to a San Diego-based foundation which purchases a few works for museums each year for their collections, and they gave us funds to buy the piece. We are really thrilled because ití­s our first piece which we can move around and can show outside, and in all different kinds of contexts, which I think is really nice. This is photo documentation because we caní­t show the projection all the time, so I wanted to have it represented. From time to time weí­ll show the full 28-day moon cycle outdoors or maybe on just full moons. We got this equipment and these glass disks (from the artist) with the phases of the moon, so if someone goes out and looks at the moon in the sky they can see it.

JP: Craig Kucia also had a show recently at the Kevin Brooks gallery here in Miami, didn't he?

CH: Yes, I loved the show and I really enjoyed meeting him. This was a case were I asked Craig for a new painting for the museum show. He was creating a whole new series of paintings and, given a choice, thatí­s the one I picked. I liked how it plays with artificial light that seems to be more lighting than natural light, and is a good transition going into Ivan (Depeña).

I usually think about my shows in a counter-clockwise way. I asked Magdalena (Fernández) how she would like people to approach her work, and she said, "Coming from the right." And when I give tours or talk to people who will be giving tours I always take them this way. But either way, your eye would keep going to different places.

JP: How did you commission this video installation from Ivan Depeña (a heavy grain floor projection of trees and a lamp post in an industrial landscape accompanied by the buzz sound of what seems like a power station)?

CH: We got together and discussed the space where it was going to be set, and the materials needed. This is the first of a night-time series he's done, a few with tall grass and palms and skies in the late afternoon. But with the same kind of electronic sound, that gives it the energy of electricity and machinery in the suburbs, a sort of humming. I think it is the most narrative work he's done.