NADA Miami opens its 24th edition on Tuesday, Dec. 1 at Ice Palace Studios, 1400 North Miami Ave., and closes Saturday, Dec. 5. The New Art Dealers Alliance brings over 130 participating galleries and art spaces from 63 cities and 27 countries, with 45 showing for the first time.
Five Days Inside a Seven-Day Week
Miami Art Week publishes its window at miamiartweek.org: Nov. 30 to Dec. 6, 2026. NADA occupies the middle five of those dates.
Art Miami and CONTEXT open the same Tuesday at One Herald Plaza and run to Sunday, Dec. 6, one day past NADA’s close. The two venues sit 0.73 miles apart, about 2.3 minutes by road. A group holding a room for the week can cover both fairs in one afternoon and return to NADA the next morning.
The fair publishes a complimentary shuttle to and from the Miami Beach Water Taxi at the Venetian Marina. That link carries a group between the mainland cluster and the beach side of the week.
The Published Roster
The introduction names five of the 27 countries through their cities: Lagos, Havana, Tokyo, Buenos Aires and Kansas City. It names five of the 45 first-time exhibitors: Pietro Alexander of New York, Clauda of Prague, FORGOTTEN LANDS of Christiansted, Real Tinsel of Milwaukee and Slip House of New York.
Participants come through a competitive application and peer review process. NADA describes itself as a market-making nonprofit, founded in 2002 and working a network of more than 500 galleries, art professionals, institutions and publications.
66 Members Are the Repeat Segment
The fair counts 66 NADA Gallery Members among its exhibitors. Seven carry a name in the introduction: Burnaway of Atlanta, Entrance of New York, Gattopardo of Los Angeles, MISAKO & ROSEN of Tokyo, Pangée of Montreal, Proxyco Gallery of New York and ANDREW RAFACZ of Chicago.
The fair publishes no booking, travel or length-of-stay data for any exhibitor. No page dates when a gallery books a room or how long it stays. The member list is the segment a repeat-stay offer routes to. The 45 first-time exhibitors are the segment a first-stay offer routes to. Assign an account to each list and ask the group which one its client sits on.
Group Terms on the Page
The FAQ answers the discount question in one line: “There are no discounts available for group bookings.” Large school and museum groups route to the fair’s email address.
The ticket page prices an early-bird single day at $45, an early-bird multi-day pass at $65, a Vernissage Pass at $150 and a senior or student pass at $35 onsite with proof of ID. Children 12 and under enter free. The fair holds a limited number of onsite tickets and asks buyers to purchase online in advance.
Tickets are non-refundable and non-exchangeable. A single-day buyer can move the booked entry day before the fair opens, subject to availability, through the View/Change Booking button at the bottom of the confirmation email. Every pass produces a QR code, scanned on arrival and again at each re-entry.
Bag check sits at the information desk. Space for luggage and small bags is limited and offered first come, first served. The fair asks visitors to keep belongings with them and to bring minimal belongings.
No Published Block
The fair’s four public pages carry no hotel partner, no room block, no rate and no cutoff date. A group desk negotiating a December rate works from the open market.
What the Package Carries
Five show days, 34 public hours. Two doors on Dec. 1: the invitation-only preview from 10 a.m. to 4 p.m. and the public gate from 4 p.m. to 7 p.m. Wednesday, Dec. 2 through Friday, Dec. 4 run 11 a.m. to 7 p.m. Saturday, Dec. 5 runs 11 a.m. to 6 p.m. Last entry sits 15 minutes before each close.
Five nights from Nov. 30 suit a guest holding a preview credential. Four nights from Dec. 1 suit a guest on the public gate, with Saturday night priced on its own. Ask which door the group holds before quoting the arrival night, because the 10 a.m. preview and the 4 p.m. public gate sit ten hours apart on one date.
The fair donates a portion of ticket proceeds to the ninth NADA Acquisition Gift for PAMM, which funds museum curators to buy works from the floor for the permanent collection.