Ariamna Contino's work is one of the most singular among the young batch of Cuban artists. Despite sharing interests with many of her contemporaries, the ceremonial character of her gaze and her attachment to the technique of “hand-embroidered paper” place her outside any group or national creative genealogy.

With more than a decade of sustained work, Ariamna has been consolidating her career in the Cuban art space. Her participation in key events such as the Venice Biennial and the Havana Biennial, as well as the presentation of her work in institutions and museums in several countries (among them the National Museum of Fine Arts, Cuba; the Museum of Concrete Art in Ingolstadt, Germany; and the Museum of the Americas, USA) are examples of the solidity of her career.

In addition to this, there is a wide range of personal and collective exhibitions. Among the most relevant are: Acquisitions 2019-2020 (National Museum of Fine Arts, Havana, Cuba); Duo Solo (Ariamna Contino and Alex Hernandez) (Nunu Flne, Taipei, Taiwan); Deriva (Habana Gallery, Cuba); Nada personal (National Museum of Fine Arts, Havana, Cuba); Painted diagrams. Bauhaus, art and infographics (Museum für Konkrete Kunst of Ingolstadt, Germany); Requiem for a failed state end (Contemporary Art Center, Germany); The Cuban Matrix (Torrance Art Museum, USA); Co-lectiva (Centro Cultural Montecarmelo, Chile). Ariamna is part of important institutional collections such as the Pérez Art Museum (PAMM), Miami, USA; the Gilbert Brownstone Foundation, Paris, France; the Museo Nacional de Bellas Artes (MNBA), Havana, Cuba and the Ella Cisneros Collection, Miami, USA.