Given that a large number of galleries exhibiting fine art have closed their doors this year, it seems unusual to see a new one opening, especially in the summertime. But Queue Gallery, founded by Catherine Camargo, shows that anything is possible even in the unstable climate of the art world as it currently exists right now. Curated entirely by Catherine, the Queue Gallery’s inaugural exhibition runs from August 22 through September 26.
Born and raised in Miami, Catherine studied at New World School of the Arts (just a block away from the gallery), and later received a BFA from the Maryland Institute College of Art.
Along with managing Queue Gallery, Catherine is also the creator of Q Magazine. The name Queue is inspired by the British use of the word “queue” to mean “line” in the USA—a linguistic play and an homage to her late British father, Fernando Camargo, who she says “…would have loved the idea/ manifestation of a constant queue outside the gallery doors, symbolizing a vibrant, ever-flowing program of artists and supporters.” The magazine serves as an in-house platform for the gallery, featuring artist interviews, experimental publications, and related projects that extend its curatorial vision beyond the physical space.
Although their subjects differ, both the magazine and the gallery reinforce Catherine’s strong “Miami” theme. Catherine’s Miami isn’t just a transient space for art fairs. She believes the artists who live in Miami can be at the forefront, and have meaningful and “serious” engagement with the national and international art world without abandoning their city’s unique attributes.
Catherine intends to hold space for both perspectives, and for artists themselves. Asserting Miami as a place where people can stay is important. As someone who is also from Miami, I can attest to the long history of artists leaving for places where they feel more understood and supported (most often in the Northeast or in Europe). Catherine had a similar experience leaving for undergrad: “… granted I wanted to leave at the time, but I shouldn’t have had to.” The message is clear, and it’s personal—much like the other aspects of this gallery and its making.
Miami isn’t just a transient space for art fairs, that the artists who live there can be at the forefront, and that meaningful and ‘serious’ engagements with the national and international art world can happen without abandoning the city’s stereotypes.
Queue Gallery’s inaugural exhibition bears the title Memory Stick, a name that sets its central theme – memory itself – in motion. Considered through the lens of a flash drive, the phrase carries an intentional double meaning, one that slips humor into the seriousness of recollection. Themes of collective memory appear throughout. Aesthetically, the work is not typical in style; it is highly specific to what feels like a contemporary recalling of the past, especially how memories reach us digitally and are then translated back into reality. Aesthetics are what reaches us in this feigned way of engaging with art, characterized by likes and algorithms interspersed with memes and world tragedies.
One of the artists in the show, Danka Lattore, plays with this idea of contradiction in their piece titled Acceptance Wedding. It is a digital edit of Selena Gomez and Hailey Bieber kissing, printed using gum bichromate (a process invented almost two centuries ago). The work references the 2010s parasocial feud between the two women incited by pop culture over their shared attraction to teenage pop star Justin Bieber. The juxtaposition of material and image allows for a more thoughtful encounter with this kind of media, humorous yet contemplative.
Attention to differences in materials as well as in the artists’ practices is an important point of curation for Catherine. Danka Lattore, Naomi Hawksley, and Sherry Kerlin represent a spectrum from student to established practitioner. Sherry Kerlin’s paintings signal a long-established practice, Naomi Hawksley is a recent graduate, and Danka Lattore is still a student. This variety is central to Catherine’s vision of creating an equitable gallery space.
Sherry Kerlin’s three oil paintings on view – part of a much larger series that can easily be mistaken for airbrushed works – address her own ancestry and the complexities of personal experience.
Naomi Hawksley’s work renders a doll bed into a surface for a graphite drawing of a skeleton. This unsettling assembly examines the mental terrain between how one sees oneself and how one is seen by others. It is one of the more delicately constructed works in the exhibition.
The precursor to Memory Stick was a show curated by Catherine titled Moving the Mortared Line at Miami’s Voloshyn Gallery. That show featured only Miami-based artists, and while Catherine’s gallery continues that mission, Memory Stick expands it. The question becomes: once Miami and its artists are established as substantial cultural workers, how do we open the space to outside conversations through a mix of artists and locations? This kind of rhizomic growth is what she hopes for — a continual expansion with a flagship in Miami. As mentioned before, the precarious contemporary art scene leaves uncertainties and the need for adaptation. The future of Queue may take the form of pop-ups and annual issues of the magazine. This nomadic approach provides freedom and the ability to present risk-taking work by contemporary artists.
Clearly a self-starter, Catherine doesn’t believes in waiting for others to take interest. She has chosen to cultivate this delicate relationship between gallerist and artist herself. As artists become “gatekeepers,” there is a chance for interesting things to happen.
We can expect more from Queue soon.
We can expect more from Queue soon. In the first week of December (during Art Basel week in Miami), Queue will be presenting Morgan Leigh, who makes interdisciplinary work rooted in geographies and materials from the deserts of Arizona.
In the end, Memory Stick does more than introduce Queue Gallery to Miami — it signals the possibility of a sustainable art ecosystem rooted in the city itself. By balancing humor with seriousness, and emerging voices with established practices, Catherine sets a precedent for what Miami’s future in contemporary art might look like.
© Katrine Eliev (9/12/25) Special for FF2 Media®
LEARN MORE/DO MORE
Visit the Queue Gallery website here.
Visit and follow Queue Gallery’s Instagram page here.
Visit and follow Q Magazine’s Instagram page here.
CREDITS & PERMISSIONS
Featured Photo: Catherine Camargo photographed in QUEUE Gallery in front of currently exhibited artist Karryl Euegenes’s piece Moving Through (2025). Portrait taken by Angelica Vargas.
Middle Photo: Artwork of Danka Latorre, Acceptance Wedding, 2024; Gum Bichromate on raw canvas; 18 x 24 inches. Photo by Katrine Eliev.
Bottom Photo: Artwork of Naomi Hawksley; Untitled (I’ve Found Some Corner Here), 2025; Graphite on vellum, wood, acrylic; 9.5 x 4.5 x 4.25 inches. Photo by Katrine Elieve
Exit Photo: Catherine Camargo. Photo courtesy Catherine/Queue Gallery.
Featured Photo & Exit Photo are property of Catherine Camargo and are used in this post with her permission. All Rights Reserved by Catherine Camargo.
Middle Photo & Bottom Photo were taken by Katrine Elieve and are authorized for responsible use by FF2 Media as long as a link to this post is included in the user’s credits.
