(…) Writing in terms of gay art, racial minorities art, Afro-Caribbean art, Diaspora art, Perestroika art, feminist art, and so on, conditions—at least—part of the analysis.
(…) Women at the Edge of an Island has been an initiative of the Cuban Museum in Miami, which since 1996 has been promoting projects in various spaces while waiting for the opening of theirs, foreseen for the beginning of 2015. The exhibition was in charge of two experienced curators, Ileana Fuentes, one of the founders of the Museum, and Jesús Rosado, for whom “the result has been a meeting of diverse resources of expression where, on the basis of each individual experience, displaced feminine talent deals with the process of identity negotiation, documenting the emotional and social impact of migratory displacement. This is how the itineraries of affective and cultural memory are covered.”
(…) Over and above the thematic approaches of the exhibition, in general we can see a behavior similar to that of arts in Cuba. (…)
Also, in one and another shore, more direct messages and that passionate criticism existing before the nineties, as well as commitments stirring up consciences, are greatly missed. Now everything is more philosophical and soft and our problems seem to give way, there and here, to interpretations—in my opinion—reflected through a sort of recreation of a given national emblem or romantic symbols of Cubanness, deriving, in some cases, from sincere and persistent obsessions and, in others, adapted to a schematic “native” and commercial exoticism, “that sells well” in matters of politics, sexuality and religious syncretism in the Cuban manner. (…)