Superblue Brand Guidelines: A PaceX Spin-Off, a Miami Warehouse of Light and a Kyoto Venue

A gallery spin-off that sells tickets, not artworks.

Superblue began inside the art trade. The Art Newspaper reported in October 2020 that it started in 2019 as PaceX, a joint project between Mollie Dent-Brocklehurst and Marc Glimcher, the president and chief executive of Pace, the New York gallery, to present works that combine art and technology. Dent-Brocklehurst, a former president of Pace London, became Superblue’s co-founder and chief executive. ARTnews reported in December 2022 that the company was announced under the Superblue name in August 2020; English Wikipedia also lists Laurene Powell Jobs among its founders.

The business model was the story. The Art Newspaper wrote that Superblue would be the first of a series of experiential art centres that would earn their revenue through ticket sales rather than sales of artworks. English Wikipedia describes an operating structure built around sharing revenue with the artists, and ARTnews, citing The New York Times, said artists were to receive a share of the profits from admissions.

Its backers were named in the same reports. According to ARTnews, which drew on The New York Times, the company was to be funded mainly by Pace and by Emerson Collective, the company founded by Laurene Powell Jobs. In March 2021 Superblue announced Therme Art, the cultural arm of the Vienna-based Therme Group, as a strategic investor, and Therme confirmed to ARTnews that it had invested.

Superblue and the gallery are kept apart on paper. In October 2022 The Art Newspaper reported that Pace and Superblue, though both led by Glimcher at the time, were run as separate organisations. Its website sets the venue’s name in capitals and pairs the company name with the city: SUPERBLUE MIAMI.

Every Wall is a Door.

The first venue is a converted industrial building in Miami. The Art Newspaper reported in October 2020 that Superblue had taken a disused 50,000-square-foot building in the Allapattah neighbourhood, across the road from the Rubell Museum, with more than 30,000 square feet of installation space and 5,000 square feet for performances, workshops and talks. The opening was set for 22 December 2020 but was delayed; Superblue Miami opened on 20 May 2021, the paper reported that day.

The opening show was called Every Wall is a Door. It brought together the British artist Es Devlin’s Forest of Us, a mirrored maze whose plan recalls the branching airways of the human lungs; a light work from James Turrell’s Ganzfeld series, in which a room is filled with a single field of colour; a group of installations by the Japanese collective teamLab under the title Between Life and Non-Life; and Meadow, a kinetic piece by the Amsterdam studio DRIFT. Wallpaper* described Meadow as a ceiling of mechanical flowers that open and close in response to visitors below, and teamLab’s Massless Clouds Between Sculpture and Life as a room of giant floating clouds that visitors push through.

The programme has changed in stages. Superblue’s website now lists works by James Turrell, Random International, Es Devlin, Studio Lemercier, JR, Rafael Lozano-Hemmer and teamLab at the Miami site, and describes the building as offering more than 50,000 square feet of immersive experiences alongside a concept store, a café and a calendar of events. In September 2026 Hypebeast reported that a new Turrell Ganzfeld, Blue Sea Sky, had replaced AKHU, the Turrell work that opened the venue in 2021; its colours, the magazine wrote, were modelled on South Florida’s sea, palms, sunsets and Art Deco neon.

Rooms, light and naming.

Immersive art and experience venues sell a visit rather than an object. When Superblue announced its Miami opening programme in October 2020, The Art Newspaper reported that the company would earn its revenue through ticket sales rather than through sales of artworks. In December 2024 the same paper recalled that it had counted more than 100 large spaces for immersive digital art around the world, a group it called “immersive institutions.”

The companies present themselves through their rooms. Projection-filled halls, where images run across walls, floors and ceilings, sit beside mirrored rooms and colour-saturated light works. Frameless in London opened in October 2022 with four themed galleries of digitised paintings, one of them edged with mirrors, ianVisits reported; Superblue in Miami opened in May 2021 with a mirrored maze by Es Devlin and a light work by James Turrell, according to The Art Newspaper.

Naming is usually plain. Venues tend to carry the company name and the city, as in Superblue Miami, and shows and rooms take descriptive titles: the four permanent galleries at Frameless are called Beyond Reality, Colour in Motion, The World Around Us and The Art of Abstraction, The Art Newspaper reported in 2024. Both companies also list a café and private-event hire on their own websites, alongside their tickets.

Corporate pages are where founders, studios and owners appear. Artists and studios are credited by name, such as teamLab, DRIFT or Random International at Superblue, and partnerships with museums and production studios are announced in public: Frameless Creative’s touring work with London’s National Portrait Gallery, made with the studio Cinesite, was reported by The Art Newspaper in 2024 and 2025. This guide sets out what dated sources say about each company, and marks what rests on the company’s own word.

London, Los Angeles and Kyoto.

Miami was meant to be the first of several venues, and the record since then is mixed. In London, Superblue took Pace’s former space at 6 Burlington Gardens, a building owned by the Royal Academy of Arts, and opened there in October 2021 with a single show by the artist duo A.A. Murakami; it ran until May 2022 and the space then closed, The Art Newspaper reported in October 2022. The same report said a New York location announced in 2021 had not opened by then.

In Los Angeles, Superblue worked with the American magazine The Atlantic, through its Atlantic Ventures division, on A Forest for the Trees, an installation by the artist Glenn Kaino in a city warehouse, which The Art Newspaper described in May 2022 as Superblue’s first project in Los Angeles. English Wikipedia also records a New York installation at the Starrett-Lehigh Building showing work by Jean-Michel Basquiat, curated by his sisters, and says the London, Los Angeles and New York locations have closed while Miami remains open. Superblue’s website today lists Miami as its only location.

The next step is in Japan. In November 2026 Hypebeast reported that Superblue had announced Superblue Kyoto, its first venue in Japan, in the Kyoto Station Southeast Area directly opposite teamLab Biovortex Kyoto, in a building designed by teamLab Architects with an indigo-blue exterior; the announcement named a long-term survey of James Turrell’s work as its opening exhibition, and the venue had not opened at the time of writing. By then Hypebeast was describing Dent-Brocklehurst as Superblue’s chief curator.

For a design guide, Superblue shows how an art company can build its identity from artists’ names and from the rooms they make, rather than from a single house style. Compare teamLab, whose installations helped open Superblue Miami, and Meow Wolf, another American company built around ticketed immersive art. For this guide we use a deep indigo, a near-black and a coral with a sans, an unofficial interpretation; no product or logo is reproduced.

Keep Superblue’s identity on hand — save it to a board in the Made Good inspiration library.