Eduardo Ponjuán is one of the essential artists in the historiography of Cuban art. His work, which emerged at the height of the 1980s, has the ability to always go a little deeper into the precipice of certain truths, to surpass itself as a discursive spring, to shock, to make us shut up and watch him compulsively. The key to this, somehow whimsical and tremendous, seems to lie in his unlimited talent to invoke that which can be, or is, essential to man. That is the origin of his most fertile and polysemic silences.

Mounted on the alibi of a conceptualism that has been able to reinvent itself, his work moves in different directions. Sometimes he speaks with a light and monosyllabic accent, sometimes he is scathing and shouts without regard. There is no precise and fair way of categorizing him, because in his case any taxonomy becomes reductionist. Ponjuán is a painter, installationist, draftsman, conceptual artist, inexhaustible thinker. Art is all a starting point, the trough from which he takes what he needs to question the world.

After more than three decades of sustained work, he has had numerous personal and collective exhibitions, both on and off the island. Among the most significant projects are the following: Sputnik (2017), El Apartamento, Havana, Cuba; Scratch (2016), which took place at the Museum of World Cultures (MUDEC), Milan, Italy; Kiss me a lot (2014) y It's on the tip of my tongue (2004), both at the Museo Nacional de Bellas Artes (MNBA) in Cuba; Wild Noise (2017), at the Bronx Museum of the Arts, New York, USA and. Farewell Utopia: Dreams and Deceptions in Cuban Art since 1950 (2017), at the Museum of Fine Arts in Houston, USA. He has participated in events of the relevance of the Venice Biennale (2011), the Havana Biennial (2015, 2012, 2009, 2006, 1997, 1994), the Biennial of Southern Panama (2013), the Cuenca Painting Biennial (2009, 1999) and the Malta International Biennial (1999).

His work has received a number of local and international awards. Outstanding among them are the National Plastic Arts Award (2013) and the National Curatorial Award (2007), both granted by the National Council of Plastic Arts of Cuba (CNAP). He also won the First Prize for Collage at the International Biennial of Malta (1999) and the scholarship awarded by the Browstone Foundation of France (2005). His works are part of prestigious collections such as the Museo Nacional de Bellas Artes (MNBA) in Havana, the Daros Latinamerica Collection in Switzerland, the Fondazione Sandretto Re Rebaudengo Collection in Italy, the Farber Collection, the Blanton Museum of Art and the ASU Art Museum, all in the United States.