In a recent episode of The Current Podcast by TreasureCoast.com, we sat down with Caitlin Swindell, Chief Curator at the Vero Beach Museum of Art, to explore how the museum brings their experiences to life. Swindell discusses how she selects and shapes exhibitions, manages the permanent collection, and works directly with artists. Her role touches nearly every part of what visitors see on the museum walls, and much of what they don’t.
About the Vero Beach Museum of Art
The Vero Beach Museum of Art stands as one of the Treasure Coast’s most respected cultural institutions. Located in Riverside Park along the Indian River Lagoon, the museum has become a central destination for fine art, education, and community engagement on the Treasure Coast and beyond. With a permanent collection of over 1,000 works and a consistent rotation of exhibitions, it offers its visitors a dynamic range of artistic experiences from European masterpieces to contemporary Florida-based artists.
Finding Art that Inspires Visitors
Caitlin stepped into the role of Chief Curator just over a year ago and has led a variety of projects, from globally significant exhibitions to original shows rooted in local and contemporary voices. Throughout the conversation, Swindell walked us through the complex and creative curatorial process.
One of her recent projects was French Moderns: Monet to Matisse, a traveling exhibition from the Brooklyn Museum. Spanning 100 years of art history, the show includes works from major movements such as Impressionism, Cubism, Surrealism, and beyond. Swindell had the opportunity to reorganize and interpret the exhibition for the Vero Beach audience, connecting viewers to the artists and their techniques.
While international traveling shows bring global perspectives to the region, Swindell also emphasized the importance of maintaining balance through homegrown projects. One example is Well Dressed, a thematic exhibition drawn from the museum’s permanent collection. The show explores how clothing in portraiture communicates identity, whether about the subject, the artist, or the viewer’s perception. It includes everything from hyperrealistic sculptures and pop art ties to patterned garments and theatrical performers.
Swindell’s goal is to make art more approachable without watering it down. She encourages museum-goers to look closely and form their own interpretations.
“There’s no one right way to engage with art,” she explained. “Sometimes it’s about seeing something in person, the color, the texture, or even the emotional response. It doesn’t always have to be academic.”
Upcoming Exhibitions to Look Forward To
Upcoming exhibitions also reflect this diversity. Opening July 11, A Tangled Plot features collaborative artists Annie Blazek and Geddes Levenson. The duo paints together on the same canvas, sometimes even painting over one another’s work. Their pieces are inspired by nature, mythology, science fiction, and epic literature, ranging from Shakespeare to Solaris. The exhibition will include paintings, ceramics, and conceptual pieces that ask more questions than they answer, prompting visitors to think about ecology, identity, and human connection.
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Swindell first discovered the pair’s work years ago and stayed in touch. She described the upcoming exhibition as one that blends technique, storytelling, and experimentation in unexpected ways. The artists will be present during the opening weekend and will lead a guided sketching workshop on July 12 as part of the museum’s Second Saturdays programming. The workshop is free and open to the public, though registration is recommended.
This fall, Swindell is preparing Recent Acquisitions, a show highlighting around 50 works collected over the past five years. These pieces reflect the museum’s evolving focus, with a continued strength in American art but growing attention to global contemporary voices. Visitors can expect to see photography, sculpture, and painting from both emerging and established artists.
In January 2026, the museum will open American Made, a large-scale exhibition spanning two galleries and featuring 80 works. It will serve as a broad survey of American creativity, from the 18th century to the present day. Swindell described it as a natural progression from earlier shows like French Moderns, allowing visitors to compare how major movements translated into the American context.
Finding New Artists and Ideas
Later in the podcast, Swindell discussed how she finds new artists. She travels frequently to major art fairs like Art Basel Miami, Art Expo Chicago, and events in New York and Los Angeles. She also makes time to visit museums and galleries wherever she goes, keeping a running list of artists to watch. Sometimes those discoveries lead to exhibitions years down the line.
Behind the Scenes of Exhibitions
She made it clear that curating isn’t just about choosing what looks good on a wall. Behind every exhibition is a mountain of logistics—from documenting and condition-reporting incoming works to unpacking crates, coordinating installations, and handling fragile or heavy pieces with care. For major exhibitions like French Moderns, some artworks weighed over 400 pounds and required specialized handling.
“It’s supposed to look effortless when you walk in,” she said, “but there’s a lot going on behind the scenes.”
Looking Forward
Throughout the conversation, one theme stood out: The Vero Beach Museum of Art is always in motion. From planning exhibitions years in advance to adapting on the fly during installations, it’s a dynamic environment built on expertise, creativity, and a strong connection to art and the community.
Swindell’s approach blends academic rigor with openness. She’s curating for visitors who want to learn, but also for those who simply want to feel something when they walk through the galleries. The exhibitions are varied to make sure that everyone who visits finds something they can connect with.
