I’ll Cross that Bridge When I Get to It is the latest exhibition by Miami artist Bert Rodriquez, opening tonight at the Fredric Snitzer Gallery.

No works will have been created by the time the show opens. Instead, Rodriguez plans to fill the space over the next 25 consecutive days of the exhibition with a single new work a day. All of these pieces will be available for sale before their completion, but collectors, the gallery, and to some extent perhaps even the artist himself, will not know what these pieces will look like until the day they’re completed. The purchase of these works, in turn, becomes an act of faith, or more specifically a gamble.

It’s quite similar to Rodriguez’s previous The Kindness of Strangers (on view last summer at MOCA) where the artist under the banner of his own Bert Rodriguez Foundation pounded the pavement to collect donations for a work that was to be constructed throughout the duration of the Museum’s Convention group exhibition. The finished product, an assemblage of cheap souvenirs, was visually and aesthetically unremarkable, not to mention incomplete, since the foundation, in a fitting twist of fate, went bankrupt before the work’s completion.

A similar strain of thought runs through this latest exhibition. As a critique on the art market and gallery system, it’s a novel one. But more important is the laziness inherent in the gesture of presenting an empty gallery space for opening reception, and then quickly and no doubt carelessly, producing the works at the last minute like an art student racing against deadline. It’s a glorious testament to laziness, in fact. It also illustrates in a beautiful way the general uselessness and pointlessness of art as a commodity.

Fredric Snitzer Gallery: 2247 NW 1st PL, Miami; 305-448-8976; snitzer.com