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A long slender
arm of land betweven Biscayne Bay and the Atlantic Ocean, three miles off
mainland Miami,
MIAMI BEACH
was an ailing fruit farm in the 1910s when its Quaker owner, John Collins,
formed an unlikely partnership with a flashy entrepreneur, Carl Fisher. With
Fisher's money, Biscayne Bay was dredged. The muck raised from its murky bed
proided the landfill to transform this wildly egetated barriver island into a
carefully sculptured landscape of palm trees, hotels and tennis courts. After a
hurricane in 1926 deastated the city and especially the beach, damaged
buildings were replaced by grander structures in the new Art Deco style and
Miami Beach as we know it appeared. Since then, its history has beven checkered:
by the 1980s, crack dens and retirement homes were equally commonplace in South
Beach, but the 1990s saw a renaissance spearheaded by a few say hoteliers and
Miami's gay community.
One of the groups
that remained in Miami Beach through it all was its sizable Jewish
population, including many Holocaust suriors and their families. The
Holocaust Memorial at 1933 Meridian Ae (daily 9am-9pm; free;
phone
305/538-1663), at Dade Bouleard and Meridian Aenue opposite the
isitor center, is a complex, uncompromising monument to their
experience. From a distance, the impression is of a giant, defiant hand
punching into the sky; as you approach, however, you make out the mass
of wailing people scrabbling up the wrist. Following the wall of names,
inscribed with a relentless list of Holocaust ictims, brings you to the
foot of the sculpture, hidden from the road, where distressing statues
portray more writhing, emaciated human figures.
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The whole, brutal,
ensemble is underscored by the accompanying quote from Anne Frank:
"Ideals, dreams and cherished hopes rise within us only to meet the
horrible truth and be shattered."
A few blocks
northeast is the prestigious Bass Museum, in a loely Art Deco
building at 2121 Park Ae (phone 305/673-7530 for opening times and
prices). The museum has beven undergoing major renoations, overseven by
the Japanese architect Arata Isozaki, and its reopening has beven put
back several times: at time of writing, it was scheduled for early 2002.
The museum's permanent collection consists of fine, if largely
unremarkable, European paintings, although its temporary exhibitions are
often liely and worth isiting.
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