:sharpen(level=0):output(format=jpeg)/wp-content/uploads/2025/10/OC1A1152-e1761615957645.jpg "Catherine Camargo")
Catherine Mary Camargo is a curator, writer, and artist of Haitian and British heritage. She is the founder of QUEUE Gallery x Q Magazine, a gallery and mirrored publication currently based in Downtown Miami. The gallery represents artists who merge minimalism with subversive narratives, while the magazine functions as a rotating archive of contemporary art and local history.
Camargo’s curatorial and artistic practice examines systemic barriers, migration, and vulnerability through minimalist and unconventional aesthetics. Her research and writing critique oppressive systems while embracing discomfort as a catalyst for new perspectives. Her personal writing—produced more often than shared—serves as intuitive research that guides her curatorial vision and tests her capacity for vulnerability.
A native Miamian, Camargo has worked with renowned institutions such as The Margulies Collection at the Warehouse and the Pérez Art Museum Miami before establishing her own gallery. She offers comprehensive art advisory services for both new and established collectors, private and corporate alike. Independently, she has curated exhibitions at venues including Voloshyn Gallery, Edge Zones Gallery, and a pop-up exhibition in the Miami Design District featuring artists affiliated with Tunnel Projects (based in Miami, FL), as well as various nomadic locations such as a repurposed gas station in Opa-Locka. Her writing has appeared in publications such as The Miami Native and Art Circuits Guide, and she has also self-published numerous intimate artist interviews and distinctive print editions under Q Magazine.
Get to Know Me
Tell us about the most recent / last piece you acquired?
The last piece I acquired is by an artist I represent, Morgan Leigh. It’s covered in latex, leather, and real found claws from the desert in Phoenix, Arizona, where she is based. The piece hangs proudly and prominently over my couch in the living room—it feels too rich to sit beside any other works and deserves to be admired without visual distraction. To me, the piece represents more than the concepts that drive its visual existence; it also stands as a personal marker of my faith in Leigh as a relatively new gallerist. Morgan Leigh will be showing at QUEUE Gallery during this year’s Art Basel / Art Miami week for her first solo debut exhibition in Miami, FL on December 2nd. Every day when I look at this work, I’m reminded that she is worth taking the risk of bringing to Miami during the city’s most pivotal art week. I am grateful, honored, and beyond excited to be the vessel introducing her practice to our city.
How did you begin your career in the art world?
My career in the art world began in a nontraditional way. I trained as a painter and sculptor for nearly a decade before realizing I was more interested in presenting the work of others. Navigating the process of opening and running a gallery as someone originally trained as an artist has been far from easy. Where some may have spent years learning the business under established galleries, I spent that time painting, writing, and closely observing the practices of others. My path evolved from full-time artist to writer, curator, and now gallerist. Of these roles, curation feels like the most natural extension of my artistic practice. Opening a gallery was never about the glamour or the money—it was about creating a consistent program where both the artists I collaborate with and the ideas presented align with my vision. This has become my newest language of art-making, and I feel deeply at home here, gratefully.
If you could have dinner with 3 artists from the past- who would they be?
There are far too many incredible artists who have walked the same soil as us for me to choose just three without later regretting the names I left out. But if I had to name a few that first come to mind, I would say Joseph Beuys, Nobuo Sekine, and Ana Mendieta.