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The island of Cuba has recently become the object of fascination for much of the world, anxious to “discover” its exoticism and be a part of its global unveiling.  For the tourists, Cuban art is a required part of every visit, and the newest generation of artists obliged to respond, while in the midst of phenomenal change. Cuban art historian, curator, critic and producer Píter Ortega has written the definitive book on this new generation, the “hot” millennial group that has chosen to move beyond the familiar and make and use their art as “an end in itself”. Outside of the constraints of previous artists who conceived of their work at the “service of social emancipation, or for the good or the future of the Cuban nation,” these artists are described by Ortega as products of a transnational and universal construct that involves a unique world view.  Cuban Art 2001-2016: So Big That It Crushes introduces 40 artists of this newest generation that he sees as a strong sign of change, conceptually and aesthetically. An experienced writer who is personally familiar with these artists, very much of his own generation, Ortega brings a critical eye to their work and the individual situations that have determined their path into the universal and global mainstream.  


Carol Damian

Professor, Art History

The Millennials Generation: From the Nonsensical to the Post-Utopian Crisis