Explore an exclusive conversation with Billy Tartour, the art historian, collector, and renowned art advisor who founded OPA Projects, now one of Miami’s most talked-about contemporary galleries.

Located in Little River, OPA Projects is a sleek, loft-like space flooded with natural light. From curated exhibitions to private dinners and engaging events, the gallery aims to bridge artists, collectors, and major institutions, fostering meaningful cultural dialogue.

Our talk dives into OPA’s latest show, “Echoes of the Unseen”, a group exhibition featuring eight international artists whose works probe memory, materiality, and the unseen forces shaping identity and perception. Through striking portraits, repurposed objects, and layered installations, the exhibition invites viewers to enter a realm where the visible meets the intangible.

Billy shares how he transitioned from advising collectors to founding his own gallery, his bold vision for redefining figurative art, and how he positions OPA as a contemporary art hub with global reach. With a focus on community-building, cultural exchange, and powerful programming, this is an opportunity to hear from a curator deeply embedded in Miami’s art ecosystem

Billy Tartour, Founder of OPA projects — Billy, can you introduce OPA Projects to us in your own words?

**OPA Projects is a contemporary art gallery based in Miami. We show both emerging and more established, institutional artists**. The idea behind OPA is not just to exhibit art — it’s to create a space for conversation and connection. We host private dinners, cocktails, and events at the gallery. There’s a bit of a club atmosphere —intimate, international, and open to collectors, art lovers, and curious minds.

Why did you choose Miami as the location for this new venture?

Miami is going through a huge economic and cultural boom. The city has incredible energy, a strong local scene, amazing institutions like ICA, Locust Projects or Fountainhead, world-class collectors, and of course, major art fairs like Art Basel. It felt like the right place to build something new and meaningful.

What does the name “OPA” stand for? Is there a story behind it?

“OPA” is a word that exists in several cultures—Greek, Basque, Hebrew—and it always carries **this idea of joy, energy, a kind of spontaneous celebration**. That’s what we want OPA Projects to be: an international space full of life and connection. Our team, our artists, our curators—they come from everywhere, and we all share that spirit.

How does OPA Projects fit into your artistic and professional journey so far?

I’ve worked as an art advisor for years in Paris, and I’ve been a collector myself for a long time. I studied art history at La Sorbonne, then worked in major auction houses. Opening a gallery was a natural next step—it brings together my passion for discovering artists and my desire to share art with others in a more personal way.

What were some of the biggest challenges in opening a space like this in Miami?

Finding the right space was a real challenge. We wanted a place that felt unique, with character and natural light. Our current gallery has high ceilings, huge windows—it’s beautiful. But more than anything, patience was key. It takes time to build trust, find the right team, and create something meaningful.

Where do you see OPA Projects in one year? In five years?

In one year, I hope we’re continuing to build strong relationships—with artists, collectors, curators—while staying true to our spirit. In five years, we want OPA to be seen as a reference in Miami, known for bold, thoughtful programming. We want to be at major art fairs, but without rushing. It’s about growing step by step, with quality.

What has been the most memorable piece or moment at OPA since it launched?

At our last show, “***Echoes of the Unseen”***, we placed a powerful piece by the young artist Jessica Taylor Bellamy in dialogue with a major work by David Salle. Jessica came from L.A. for the opening, and she was genuinely moved—David is one of her inspirations. Creating that kind of emotional bridge between artists and generations—that’s why we do this.

Do you imagine expanding OPA to other cities or countries in the future?

Let’s focus on Miami first. There’s still a lot to do here. But yes, one day—Paris could be a natural second home for OPA, given my roots and connections there.

Any advice you’d give to emerging artists or curators watching what you’re building?

Stick to your vision. Don’t try to do what you think people want—do what you really believe in. And surround yourself with people who challenge you and support you. That’s everything.