You may not know his name, but if you’ve been to the movies in the past 40 years, you’ve seen his work. Cuban-American designer and animator Pablo Ferro created the opening title sequences and trailers for dozens of award-winning movies, from Dr. Strangelove to Good Will Hunting. Director Richard Goldgewicht discusses his film about designer-animator Pablo Ferro.

Consuelo Castañeda opens her first show in Cuba in almost 30 years, Rafael Domenech curates an exploration of domestic life in North Miami, and The-Merger solos in Tenerife. Photographer Eduardo García is a Magnum Award finalist, and a restored Memories of Underdevelopment screens at the New York Film Festival.

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.

Next week, a documentary about three young dancers at Havana’s National Ballet School has its North American premiere at the Dance on Camera festival at New York’s Film Society of Lincoln Center. Cuban Art News caught up with director Sylvie Collier for a quick e-mail chat about the film, To Dance Like A Man.

With more than 50 semi-independent “collateral” exhibitions and events joining an already jammed official program, there’s no such thing as an overview for this year’s Bienal. But there are plenty of highlights—along with links to video clips, slide shows, photos, and more—in the first of several reports from Cuban Art News.

Cuban artists are spanning the globe this season, with solo and group shows taking place in Buenos Aires, Hong Kong, Taiwan, Japan, Switzerland, the Netherlands, London, Jersey City, Brooklyn, Silicon Valley… and Havana.

Havana’s Gallery La Acacia recently exhibited previously unseen works by the renowned Cuban painter. Karina Durant gets the inside story from the curator, restorers, and collectors who contributed works to the exhibition Mariano en Contemporáneo.

Theater critic Norge Espinoza continues his look at the shifting relationship between Cuban theater and film in the decades since the revolution. In Part 1, he surveyed the 1950s and ’60s. Here, he continues with the 1970s, the theatrical revival of the 1980s and ’90s, and recent developments in the ongoing relationship between Cuban theater and film.

Next week brings the spring Latin American sales to New York City, and with them, a strong slate of contemporary and 20th-century Cuban works—and even more Lams than last season. Last November, several contemporary works soared past their high estimates. Will the trend continue?