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Cuba is the largest country in the Caribbean. A participant in and of copious universal changes, it's been ruled in the past by Spain and the U.S. as well as a brief British occupation, creating a multi-cultural heritage heavily augmented by approximately 800,000 enslaved Africans brought mainly from West Africa, close to twice as many as the United States, between 1808 and 1820 during the sugar and coffee boom. A variety of situations and the melding of cultures fueled personal upheaval that conveyed profound depth of creativity to these islands.
“Afrocubanismo” is a parallel project meant to be viewed in conversation with “El Pasado Mío.” All of the artists featured in this exhibition were racialized as white during their lives, with the exception of Wifredo Lam, a celebrated Afro-Cuban painter, considered by some to be the most prominent — and by others, the only — Afrodescendant artist in Cuba in the 20th century.
The Lowe Art Museum at the University of Miami is celebrating that legacy with the largest survey of Afro-Cuban art ever staged. Two exhibitions bring together more than 100 works by 58 artists, tracing 200 years of creativity and exploring the many ways African heritage has shaped Cuban art.
*Tangere* takes its title from a passage written by John Alfred Charlton Deas in *What the Blind May ‘See’: Some Museum and Other Experiments in Tactile Sight*. In this book, the curator of the Sunderland Museum in the UK recounts the experiences generated during a series of pioneering inclusive sessions in which blind people of different genders and ages touched and interacted with objects from the collection. John Alfred Charlton Deas, in describing those episodes, remarked: “To them, their fingers are eyes.”.
La Térmica is opening “Tangere,” an exhibition of paintings by Nacho Martín Silva designed for blind and visually impaired visitors. This new in-house production, curated by Juan Francisco Rueda and developed in collaboration with the ONCE branch in Málaga, will be open to the public through September 20. Tangere actively involves blind people as collaborators in the project, making inclusion an essential part of the artistic experience.
The new in-house exhibition, curated by Juan Francisco Rueda and developed in collaboration with the ONCE branch in Málaga, will be open to the public through September 20. 'Tangere' features the participation of blind individuals as project collaborators, making inclusion an essential part of the artistic experience.
The Space 23 Exhibition Reimagines Territory and Belonging
ArtBurst
In a city where borders feel permeable and reinvention is a local instinct, El Espacio 23 returns with a timely question: What is territory now? Is it land? History? A wound? A spiritual force? A place we inherit, or a place we imagine? That inquiry anchors “A World Far Away, Nearby and Invisible: Territory Narratives in the Jorge M. Pérez Collection,” the sixth exhibition at the contemporary art space founded by Miami developer, art collector and philanthropist Jorge M. Pérez.
Venice Biennale 2026 Highlights: Off-Site Exhibitions
Art Review
Roberto Diago's Cuban Pavilion brings together rusted iron heads, fragmented wooden figures and small birdhouse-like structures that recall the structures of a shrine, shelter or prison cell. Installed within the rough brick architecture of the Venetian space, the works carry the appearance of things salvaged after collapse: weathered surfaces, patched timbers and bodies assembled from scraps.
At the Cuban Pavilion, a physical and symbolic journey through Afro-descendant memory
Il Giornale Dell'Arte
In a material context, for his participation in the 61st International Art Exhibition of the Venice Biennale, the artist Roberto Diago does not represent black skin as a passive surface, but as an archive of trauma, resistance and survival.
Writer Carmen Maria Machado Turns Curator for a Subversive New Show in New York: Rocío García
VOGUE
Themes of power, pain, desire, sexuality, and fear animate much of Machado's work as well as García's, making a multimedia collaboration between the two creatives feel especially apropos. Machado, who is also of Cuban descent, notes that while working with García, who lives in Havana, posed certain logistical challenges-“since bringing stuff out of Cuba is pretty hard right now”-encountering the artist's work in person was a revelation.
Roberto Diago to Represent Cuba at the 2026 Venice Biennale With “Hombres Libres / Free Men”.”
BAM! Black Art Magazine
Afro-Cuban artist Roberto Diago brings a new salvaged-material installation to Cuba's pavilion at the 2026 Venice Biennale, treating scar and surface as a language of memory, resistance, and survival.
Roberto Diago, protagonist of the Cuban Pavilion at the Venice Biennale
PAC
‘Free Men’ is Roberto Diago's proposal for the Pavilion of the Republic of Cuba at the 61st International Art Exhibition - La Biennale di Venezia. International Art Exhibition - La Biennale di Venezia, curated by Nelson Ramirez de Arellano Conde and commissioned by Daneisy Garcia Roque. The project, which can be visited from May 9 to November 22, is located at Il Giardino Bianco - Art Space, located in via Garibaldi 1814, between the Giardini and the Arsenale.
The Space 23 Exhibition Reimagines Territory and Belonging
ArtBurst
In a city where borders feel permeable and reinvention is a local instinct, El Espacio 23 returns with a timely question: What is territory now? Is it land? History? A wound? A spiritual force? A place we inherit, or a place we imagine? That inquiry anchors “A World Far Away, Nearby and Invisible: Territory Narratives in the Jorge M. Pérez Collection,” the sixth exhibition at the contemporary art space founded by Miami developer, art collector and philanthropist Jorge M. Pérez.
Venice Biennale 2026 Highlights: Off-Site Exhibitions
Art Review
Roberto Diago's Cuban Pavilion brings together rusted iron heads, fragmented wooden figures and small birdhouse-like structures that recall the structures of a shrine, shelter or prison cell. Installed within the rough brick architecture of the Venetian space, the works carry the appearance of things salvaged after collapse: weathered surfaces, patched timbers and bodies assembled from scraps.
At the Cuban Pavilion, a physical and symbolic journey through Afro-descendant memory
Il Giornale Dell'Arte
In a material context, for his participation in the 61st International Art Exhibition of the Venice Biennale, the artist Roberto Diago does not represent black skin as a passive surface, but as an archive of trauma, resistance and survival.
Writer Carmen Maria Machado Turns Curator for a Subversive New Show in New York: Rocío García
VOGUE
Themes of power, pain, desire, sexuality, and fear animate much of Machado's work as well as García's, making a multimedia collaboration between the two creatives feel especially apropos. Machado, who is also of Cuban descent, notes that while working with García, who lives in Havana, posed certain logistical challenges-“since bringing stuff out of Cuba is pretty hard right now”-encountering the artist's work in person was a revelation.
Roberto Diago to Represent Cuba at the 2026 Venice Biennale With “Hombres Libres / Free Men”.”
BAM! Black Art Magazine
Afro-Cuban artist Roberto Diago brings a new salvaged-material installation to Cuba's pavilion at the 2026 Venice Biennale, treating scar and surface as a language of memory, resistance, and survival.
Roberto Diago, protagonist of the Cuban Pavilion at the Venice Biennale
PAC
‘Free Men’ is Roberto Diago's proposal for the Pavilion of the Republic of Cuba at the 61st International Art Exhibition - La Biennale di Venezia. International Art Exhibition - La Biennale di Venezia, curated by Nelson Ramirez de Arellano Conde and commissioned by Daneisy Garcia Roque. The project, which can be visited from May 9 to November 22, is located at Il Giardino Bianco - Art Space, located in via Garibaldi 1814, between the Giardini and the Arsenale.