From an essay on Cuban art collecting to a Billboard take on "el paquete" and the island’s music industry, this season has brought in-depth, thought-provoking coverage of Cuban art and culture. Here are our picks for must-read stories, plus a video.

In 1967, more than a hundred international artists sent work—or arrived themselves—for an unprecedented event in Havana. At the Museo Nacional de Bellas Artes, La Gran Espiral marks the 50th anniversary of the Salón de Mayo.

Will the momentum of this month’s record-breaking contemporary art sales carry over to next week’s Latin American auctions? How about Lygia Clark’s acclaimed retrospective now on view at MoMA? And what effect might they have on Cuban art? Here’s a look at the upcoming sales at Christie’s, Sotheby’s, and Phillips.

Uprooted/Transmigrations features the work of a dozen Cuban and Latin American artists. Cuban Art News talks with Abelardo Mena of the Museo Nacional de Bellas Artes in Havana about his first exhibition in Miami.

Grammy-winning musician and composer Arturo O’Farrill, son of Cuban-born jazz master Chico O’Farrill, recently completed a week-long tour of Cuba with the Chico O’Farrill Afro Cuban Jazz Orchestra—the fulfillment of a dream that began more than eight years ago. Here, Arturo talks about the high points of the trip, the work he composed for the occasion, and the debt that jazz owes to Cuban music.

In an email interview, Carlos Estévez talks about the work in Reliquaries, his show at Pan American Art Projects, and about time, scale, tin soldiers, and the pleasures of collecting stuff.

It’s been not quite 3 weeks since Hurricane Irma struck Cuba and the Florida peninsula. In Havana and Miami, the art scene is starting its comeback. Gathered from official sources and informal communications with colleagues, here’s an update on both cities: museums, galleries, events, and a resignation.

During the late 1970s in Cuba, a multigenerational group of artists joined together to form a collective called Grupo Antillano. A new exhibition, and now a book, brings them back into the spotlight.

Loló Soldevilla was in her late 40s when she began experimenting with abstract art. Over the next two decades, her work would continue to break new ground in contemporary Cuban art. In Chelsea, curator Rafael DiazCasas talks about “Constructing Her Universe: Loló Soldevilla.”