Created inside an archeology of the uptown New York City apartment inhabited by legendary performance/drag queen Mother Flawless Sabrina, At least you know you exist is a site-specific exploration of a fixed space where everything is in a state of change.  Working collaborative with “Flawless”, Zackary Drucker weaves a fluid, parallel text of these two divergent lives, exploring a legacy being passed from a lost generation towards the future.  Navigating the real and the unconscious, oscillating between documentary and myth narrative, At least you know you exist is an exploration of trans-identity that attempts to subvert traditional documentary while layers of feverish history interface with a new vision of transgender performativity.

Officers Campbell and Vis write tickets to artists and gallerists in an attempt to uphold the general rules of art. It must be stressed that this pedestrian form of criticism has no role in defining good or bad art. Racing car drivers are often ticketed for speeding, but their driving skills are not in question. Many citations have been written and numerous violations have been avoided due to their continued presence on the art beat.

The prolific Parisian artist who has 'Invaded' cities around the world takes over a new territory by sending a piece into the stratosphere. On August 20, 2012, the mosaic Space One flew aboard a special device designed by Invader who adapted advanced technologies with his own resources. Equipped with a camera, the weather balloon crossed terrestrial atmospheres for a short stay in space before returning, bringing the premier astronautic work back to Earth along with a series of photographic images showing the mosaic's perspective distance from space.

Maria Lai Ansia d'infinito: Maria Lai, who studied in Venice under Arturo Martini, is one of the greatest European sculptors of the 20th century. Accompanied by the voice of the Sardinian artist, her paintings, carved landscapes, textile stage designs and drawings are revealed by a fluid, delicate and inventive use of video and music. This is an investigation into the life and evolution of a creativity that is never short on ideas, whose modernity is still spectacularly vibrant today.

Internationally renowned, Vietnamese-born artist Dinh Q. Lê participated in a residency at Casa Tres Patios in Medellin, Columbia in 2011.  During his residency he created the sculptural installation The Virgin Mary of Medellin.  PULSE Miami 2012 is the first time the artwork has been exhibited in the United States.  The sculpture is part of Dinh Q. Lê’s series Signs and Signals from the Periphery which comments on the transient and improvised nature of commerce in developing countries, such as Vietnam or Columbia.  While most of Lê’s Signs and Signals series explores economic temporality in Asian societies, his sculpture The Virgin Mary of Medellin focuses instead on the economic realities of Latin America.

Shantell Martin, recently called “one of Brooklyn's best young visual artists” by Flavorpill, creates a monumental mural in her signature style. Martin favors a loose style that suggests free association but, upon closer inspection, seemingly incomplete scenarios reveal precise lines and placement of objects.

Working with an obsessive attention to detail, Opdyke creates immersive art that both delights and disturbs. Hyperrealistic arrangements and intricate sculptures that are a visualization of the environments ability to adapt, co-exist and overcome.  Opdyke meticulously handcrafts each piece, creating intricate worlds of cryptic symbols, political metaphors, and freakish hybridity. Garden of Earthly Delights offers a hopeful vision of natures perseverance in arresting and extremes of scale and realism.

“I've always believed that sculptures should do something; they shouldn't just sit there. I like feathers as a material since they do things I can do with no other material. I like microprocessors for the same reason; with them I can do things which can be accomplished no other way. I've been working with microprocessors for about 30 years, and feathers for half that time.”

Hello Deconstructing Fantasy is a series of sculptures that give the appearance of a sunken ship and found treasure. Using contemporary pop culture with older tales of found treasure, these black and white outdoor sculptures of a sailboat and numerous “pots of gold” and “treasure chests” allude to the fantasy of finding freedom through happenstance.

Monica Lopez De Victoria and Tasha Lopez De Victoria grew up in Miami and collaborate under the name TM Sisters. They work in the mediums of video, digital video performance, VJing, collage, social experiments, zines, clothing, installations, and interactive video created along with their brother Samuel. Their do-it-yourself ethic started by being home schooled together by their parents. They were raised with intense psychological and spiritual discussions regarding behavior, relationships, creativity, and truth. The sisters’ work has been included in the international exhibitions "Uncertain States of America: American Art in the 3rd Millennium" curated by Hans Ulrich Obrist, Daniel Birnbaum, and Gunnar B. Kvaran, the Second Moscow Biennale of Contemporary Art, the Adrianne Ascht Center for Performing Arts, and PERFORMA 07. Their work has been seen and written about in publications like L’Officiel magazine, The Guardian, STEP Inside Design, the New York Times, Vogue Italia, and on the cover of ARTnews magazine for its 2007 “25 Trendsetters” article.

Spevack started experimenting with apartment-sized farming by converting her own bookshelf into a mini greenhouse and designing an efficient, sub-irrigated system for growing energy-packed plants (microgreens) in urban spaces. To suggest a feeling of domesticity similar to her original experiment, PULSE will display a series of “microfarms”—household objects (such as a desk and dresser) alive with edible plants. Spevack's work examines the value placed on food, community, and creative effort.

“What began as a result of contemplating the effect of my own artwork on the general public quickly grew into a critique of the patrons and very institutions that were fostering this work. The critique did not end with the art but instead began with the wall it hangs on. It travels through the galleries, museums, art fairs, collectors, secondary markets, and auction houses. Sometimes it is not until we put things to words and speak them aloud, are we finally able to see what underlies the slick, glossy vernacular of art and its complex. I relish in the fact that so many questions can arise from one simple statement and shake the very foundation of my livelihood.”

Munich-based duo Venske & Spänle transform their media of choice—marble—from a cold and static state into lively and sometimes whimsical biomorphic marble sculptures. Carved from pure white Lasa marble quarried in the mountains of northern Italy, the pieces are each imbued with a distinctive personality. The sculptures are mischievous or curious, frightened or antsy, full of an activity and quality of motion uncommon for the usually austere medium.

THIS END UP is a West Collection project designed to continue supporting unrepresented artists with exhibition opportunities and sales. THIS END UP shows curated traveling exhibitions in a mobile gallery that is built as a massive fine-art shipping crate. One side of the crate is a retractable glass wall that allows visitors to walk into a gallery space where twelve new artists from Philadelphia, Brooklyn, and Chicago are showing together in an exhibition about urbanism. Selected artists were chosen for this exhibition from the recent West Collects applications where 11,000 artists from 90 countries have applied to become part of the West Collection in the last four years. This initial exhibition ran from December 6-9, 2012, and is a special project at PULSE Miami.

A park bench, slim and edgy, the surface with a dark glance - metal, bronze. The surface displays holes in the shape of a cog wheel or polygonal cuts, structured parts next to plain are are featured next to each other. By taking a closer look the texture of the work becomes clear: These are videotapes casted in bronze. The images and the information on the magnet-tape are not accessible anymore due to the property of this particular work. The sculpture consists of Nives Widauer's whole video archive - nothing is like what the memory of it will become.

A self-trained artist, Yoskay Yamamoto's creative influences expanded as he fell in love with the urban culture of the West Coast. Yamamoto discovered a way to fuse two different cultural backgrounds in his work. Yamamoto nostalgically blends pop iconic characters from his new Western home with traditional and mythical Japanese elements, balancing his Asian heritage with urban pop art. Moving seamlessly from painting to sculpture, Yamamoto has exhibited internationally, including features at the Japanese American National Museum and the Portsmouth Museum of Art.