We normally think of Havana’s Galería Habana as a sedate, “white cube” space, where individual works of art are hung on the walls or installed on plinths, with identifying labels discreetly posted nearby. For Amanecer, his solo show and “intervention,” emerging artist Pablo Rosendo had other ideas.

Next week, the international art world will claim Miami as its headquarters, ushering in a hectic round of fairs, exhibitions, and events anchored by Art Basel Miami Beach. Here’s our guide to some of the top spots for Cuban art and artists at this year’s fairs.

Since Cuban Art News began publishing in 2009, a new generation of artists has come of age—US-born, of Cuban descent, with work that reflects the full range of their heritage and culture. Here (in alphabetical order) are 6 US-born Cuban artists to watch—emerging, emerged, and reaching broader success.

Glenda Léon solos at Chelsea’s Magnan Metz Gallery, María Magdalena Campos-Pons opens tonight in Havana, José Bedia’s IVAM show arrives in Madrid, Carmen Herrera coming to London’s Lisson Gallery, and Adjoining Islands continues at The 8th Floor in NYC. New videos on the CAN Facebook page, too.

Factoria Habana, new cultural center in the Old Havana section of the Cuban capital, opened on December 18 with Antecomienzo (Before Beginning), a group show that will run through April 2010.

For the first time in recent history, the prestigious Robert Flaherty Film Seminar hosted three Cuban filmmakers last month during its week-long annual seminar. Journalist and film editor Mónica Savirón interviewed the three for Cuban Art News. Gloria Rolando kicks off this week’s three-part series, followed tomorrow and Thursday by interviews with her fellow filmmakers Cruz Gustavo Pérez and Gilliam de la Torre.

Havana’s Villa Manuela Gallery celebrates its 10th anniversary, René Francisco opens a solo show in Brazil, a Miami photo show puts a contemporary spin on Afro-Cuban spirituality, Tania Bruguera speaks at the Guggenheim next week, and Coco Fusco heads to MIT this fall.

Most artists create paintings from paint, but in Pavel Acosta’s case, it isn’t squeezed from a tube. It’s scraped—or “stolen”—off a gallery wall. Janet Batet takes a closer look at the conceptual underpinnings behind Acosta’s new series and exhibition, Stolen from the Met.

This past Saturday, February 3, the Museum of Modern Art opened Tania Bruguera: Untitled (Havana, 2000). At a media event last week, a conversation between the artist and two MoMA curators offered insights into the piece, its presentation at MoMA, and the process of bringing a radical work of performance art into a major museum collection.