Alexis Esquivel opens his first solo museum show in Europe in Las Palmas, Duvier Del Dago wraps up a residency in France, Our America comes to Miami, Permission to be Global opens in Boston, and a Soriano painting takes up residence in Southern California.

When we first mentioned Detrás del muro (Behind the Wall) in our Bienal preview last November and then profiled it in February, we knew it was going to be one of the most ambitious projects in a Bienal focused on bringing art out into the street. But we didn’t realize it would be so much fun.

Lively bidding for Cuban art at Gary Nader debut auction, Esterio Segura solos at galería Servando, Boleto al paraíso encores in New York City, and Flavio Garciandía looks ahead to January.

Alexandre Arrechea’s Park Avenue skyscrapers move downtown, Luis Cruz Azaceta joins a group show at the Whitney, and René Francisco leads art students in witty “interventions” in Germany. Cuban artists take part in El Museo’s Bienal, Alberto Rey opens a solo show in Spain, Maria Elena González exhibits on Long Island, and Glenda León talks about the response to her current work at the Venice Biennale.

This season, Havana—and Cuban art—have rediscovered an artist who long ago passed into myth: Gustavo Pérez Monzón. In a two-part excerpt from an interview with curator Elsa Vega and noted artist René Francisco Rodríguez, Pérez Monzón talks about his training and early years, the artists who influenced him, and Cuban art in the 1980s.

Art historian and former museum director Carol Damian has curated numerous exhibitions for museums & galleries—most recently, Carlos Estévez: Entelechy, Works from 1992 to 2018 at the Tucson Museum of Art. Irina Leyva-Pérez caught up with her there for a chat about Estévez and many other artists, the upcoming Havana Biennial, and the current moment for Cuban art in the international art world.

As our U.S. readers celebrate the Thanskgiving holiday weekend, we look back at a work of “land art” that Cuban-born artist Jorge Rodríguez-Gerada created in the nation’s capital: a composite portrait that he calls “a celebration of diversity.”

Since the 1990s, Cristina Vives has been known for her curatorial work and books on contemporary Cuban art—most recently, as curator of Nkame, the acclaimed Belkis Ayón retrospective that has been touring US museums since 2016. In Havana, she is also known for the exhibitions presented by the private art space Estudio Figueroa-Vives, in collaboration with the Norwegian Embassy next door. Over coffee, Vives talked with Cuban Art News about recent projects and the current art scene in Havana.

Juan Martínez—art historian, author, and winner of the CINTAS Foundation’s Lifetime Achievement Award—talks with Janet Batet about art on and beyond the island, “Miami nostalgia,” and Cuban art collecting in South Florida.