WORDS

DATE

SHARE

Twitter
LinkedIn
Facebook
Email

David Castillo in front of his Miami space.
David Castillo in front of his Miami space.

After his art history studies at Yale, David Castillo spent a decade in the secondary market selling works by the likes of Wilfredo Lam and Frida Kahlo. Stints at Yale Art Gallery and the Miami Art Museum (pre-PAMM) readied the aficionado for a critically acclaimed gallery.

Opened in 2004, when Wynwood was mostly populated by warehouses, Castillo made an immediate splash. It was an instructive experience for the city. The first show, which hosted modern art masterpieces alongside contemporary work, had one patron scratching her head, who was unaware that such works could be shown outside a museum or collection. “I had one collector ask if the real paintings could be exhibited in the space,” Castillo says, “and I replied, ‘why not?’” Castillo moved to South Beach in 2014, when he realized collectors were having difficulty maneuvering in Wynwood “because of traffic and numerous other obstacles.”

An installation view of “Baby, I Want Yew To Know All Tha Folks I Am.”

Showing a sundry roster of Miami talent, such as Adler Guerrier and Jillian Mayer, Castillo’s program hinges upon the gallerist’s credentials and capabilities as a dealer. But Castillo is quick to emphasize the artists instead. “I allow my roster of artists—whose works I have sold to MoMA, the Guggenheim, the MCA Chicago and numerous other major institutions—to speak for itself.”

Culture Moves Fast. We Print What Lasts.

CULTURED captures the art, ideas, and people defining the moment—and what comes after. Subscribe now to get on the list for our next issue. 

You’ve almost hit your limit.

You’re approaching your limit of complimentary articles. For expanded access, become a digital subscriber for less than $2 a week.
You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

GET ACCESS

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

You’ve almost hit your limit.

You’re approaching your limit of complimentary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.
Already a Subscriber? Sign in Here
You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

This is a Critics' Table subscriber exclusive.

Subscribe to keep reading and support independent art criticism.

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c

Already a Subscriber? Sign in Here

Pop-Up-1_c

Already a Subscriber? Sign in Here

You’ve reached your limit.

Sign up for a digital subscription, starting at less than $2 a week.

Already a Subscriber? Sign in Here

Want a seat at the table? To continue reading this article, sign up today.

Support independent criticism for $10/month (or just $110/year).

Already a subscriber? Log in.