As a gesture against blind obedience, Erwin Wurm named his empty dancing suits "Big Disobedience" after Henry David Thoreau's seminal "Civil Disobedience."
Tony Tasset's "Arrow Sculpture" is meant to symbolize the perpetual rise and fall of the art market and changing tastes.
Jean-Marie Appriou's "Mirage" is about illusion. Each camel stands on top of its own distorted reflection.
Magdalena Abakanowicz's ominous headless "10 Standing Figures" stand guard on The Bass' lawn.
Ugo Rondinone's mountains were inspired by "hoodos," rock formations of North American badlands. Citing the overabundance of green in the Miami landscape, he omitted the color from his stack. "It's the first mountain in Miami," he jokes.
The geometric patterns of Claudia Comte's "128 Triangles and their Demonstration" references nature and its own hidden organizational structures.
Matías Duville's "Arena Parking," an enormous steel ring embedded into a hill of asphalt, is open to interpretation. A sunset on a horizon, or a collage of industrial detritus?
The slow rotation of the fan in a vat of yellow oil in Eric Baudart's "Atmosphère" is both beautiful and repulsive.
Camille Henrot's "Contrology" and "Dropping the Ball" are bronze, iron, and copper manifestations of a Monday morning mood -- as she describes it, both melancholic and hopeful.
The disfigured bicycle of Alicja Kwade "Reise ohne Ankunft (Mercier)" relays an endless, and perhaps then pointless, journey.
The title of Huma Bhabha's "Friend," a seven-foot sliver of graffitied wall, hides its darker subtext. The sculpture is based on Jean-Paul Sartre's "No Exit," an existentialist play where the deceased three characters are locked in a room for eternity.