Last year around this time, I complained that the Arsht Center programming was playing it too safe. Today, tickets go on sale for the performing arts center’s fifth season with a slate of shows at the Carnival Studio Theater that takes a few more chances. Most important, this season features more new work from Miami artists who deserve to be on a world stage.

This is my last post as a regular contributor to the Knight Arts blog, and I’m happy to go out with good news. Even posting twice a week for the past year, I could not keep up with the rich contributions of Miami choreographers, dancers, playwrights, poets, actors, filmmakers, and authors to our cultural scene. There is so much exciting work here that it is imperative for the publicly funded Arsht Center to give those artists a place to shine. This season is a good start.

Inside the cozy Carnival Studio Theater, where the Arsht programmers can afford to take more chances, we’ll see a second new work in November from the scrappy and smart Mad Cat Theatre, “Going Green the Wong Way.” This is a collaboration with Los Angeles-based comedian Kristina Wong who has cracked up Miami audiences before at the South Beach Comedy Festival.

Also in November, visual artist Daniel Ashram recalls his role as set designer for Merce Cunningham’s “Merce in Miami” premiere in 2007, now collaborating with former Cunningham dancer Jonah Bokaer and Cuban-born choreographer Judith Sanchez Ruiz on a multi-disciplinary piece called “Replica.”

Early December will bring the world premiere of Michael McKeever’s lastest South Florida-inspired play, “South Beach Babylon” about local artists getting ready for Art Basel just in time for the real Art Basel Miami Beach. SBS will also give Arsht audiences a chance to check out the brand new theater company, Zoetic Stage, a collective of many longstanding South Florida actors.

In January, we’ll finally get to see “Pity Party,” the new Rosie Herrera work that debuted at the American Dance Festival this summer. Also on the bill will be a reprise of “Various Stages of Drowning: A Cabaret,” first staged at the Arsht as party of the Miami Light Project’s Here and Now Festival.

In February, long-time North Miami favorite M Ensemble — the longest-running African American theater company in town — will present Crowns, Regina Taylor’s celebration of African American women’s hats.

In March, Augusto Soledade’s Brazz Dance will have a full evening to share new work and repertory that fuses Afro-Brazilian movement and folklore with contemporary dance in Mistura Fina.

While I won’t be writing regularly about Miami performance this coming year, I look forward to seeing you all at these great shows at the Arsht.

For a full schedule and to purchase tickets, visit www.arshcenter.org.