ENTRE LAS AGUAS (BETWEEN THE WATERS)

Tracing Spatial Journeys in the Latin American & Latinx Collection of the NSU Art Museum, Fort Lauderdale, Florida

About the Project

 Jacquelin Garçon , b. 1932, Cap-Haitien, Haiti; d. 2007, Port-au-Prince, Haiti.  Mere and Fils (Mother and Child) 1970. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Jack N. Holcomb. 84.59.

“Entre Las Aguas (Between the Waters): Tracing Spatial Journeys in the Latin American & Latinx Collection of the NSU Art Museum, Fort Lauderdale, Florida” is a project authored by Diana Blanco, Aina Soley i Mateu, and Chase Caldwell Smith for the course "Geospatial Humanities: Digital Mapping and Critical GIS" at the University of California Los Angeles in Fall 2021, taught by Professor Wendy Perla Kurtz. The inspiration for the project's name comes both from the title of the cover image art piece itself,  María Magdalena Campos-Pons '  De Las Dos Aguas (Of The Two Waters) , 2007, and also from the journeys that the artists we trace have gone on, between islands, from islands to mainland, and across oceans.

The aim of this project is to use GIS to spatially trace the stories of artists in the Latin American & Latinx Collection of the NSU Art Museum, which has the largest collection of art produced by Cuban-born artists in the United States. The project addresses the question of how art is classified based on the geographic locations linked to artists (both where they were born and where they live and work), as well as an internal need for NSU to understand its own collection to continue building upon it. In turn, we hope that our geographic analysis will provide a further case study in efforts to make comparisons across museum collections. In other words, our work for this project makes available another data set that can then be compared with other museum datasets, facilitating broader comparative studies across museums. In sum, our project will shed light on overlooked artistic ratios across categories such as gender and geographic country of origin. This will be of particular interest to students, museum professionals, and academics working with modern and contemporary Latin American and Latinx art.

 Margaret García , b. 1951, East Los Angeles, CA.  Janine at 39, Mother of Twins March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.17.

This project uses an in-house NSU dataset of the artists in the NSU Art Museum Latin American and Latinx Collection provided by the museum, as well as an in-house NSU dataset of the art objects within that collection. Images and additional information come from the  NSU Art Museum website , the  Goodman Study Center for Latin American Art , the  NSU Online Collection Search page , and in the case of the cover image, from  C & América Latina .

In order to maintain complete transparency around the data treatment for this project, here we disclose several considerations concerning the process of data cleaning. First, the term "Latin America" is used in this project to refer to any country in the Americas south of the Mexico/US border, including the Caribbean. The term "Latinx" is used in this project to refer to artists born in the US, from Latin American heritage. We understand that both of  these terms are problematic ; however, since the classification of art as Latin American and/or Latinx is a trend inside and outside of the art world, we have decided to keep this categorization. In fact, we shall critically interrogate what these terms mean in the context of the classification of the artists in the museum collection we analyze here. Furthermore, while we acknowledge that many other terms of identity and classification might be used to describe these artists and their artworks, including but not limited to "Hispanic," "South American," and "Chicanx," we have chosen to specifically focus on the terms "Latin American" and "Latinx" which are the key terms used by this particular museum collection.

In order to be able to best visually and cartographically represent the data, we removed all data columns that were not necessary for this analysis, including private internal museum information. For the same reason, birth and death date formats were adjusted to be consistent with Carto formatting, and the same process was applied to the columns containing information about birthplaces, present living and working places, and places of artists' death, which were divided into city, state, and country columns to be consistent with the QGIS requirements for correctly geocoding the data. On that same note, biographical information that was unavailable in the original artists dataset was determined based on online research into artists' biographies.

 Carmen Lomas Garza , b. 1948, Kingsville, TX; lives and works in San Francisco, CA.  Quinceañera (15th Birthday) March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.21.

Furthermore, in order to successfully transport the data from the original dataset into the mapping platforms we used in a clear and comprehensible manner both for us and for the ultimate viewers of the maps, some important assumptions were made concerning the artists and the locations that were linked to them. Gender data that was unavailable in the original dataset was determined based on assumptions about first-name gender. “Works and Lives” locations were based on the NSU museum’s information gathering between 2015-2017 when biographical research was conducted on the artists in this collection. Therefore, “Locations” may not reflect the artist’s current location, but rather their last worked or lived location as of the years 2015 to 2017.

(See also the cover image).  María Magdalena Campos-Pons , De Las Dos Aguas (Of The Two Waters), 2007. NSU Art Museum Fort Lauderdale, promised gift of David Horvitz and Francie Bishop Good PG2016.1.8. Downloaded from  C & América Latina .

It is also important to note that artists may have lived and worked in more than one place during their lifetime. This movement across time and geographical location should be further studied and mapped, but for the purposes of this project, only the last known lived and worked location was used for each artist for the sake of clarity and simplicity. Nationality, which is often based on legal status and place of birth, was re-formatted based on the country of birth and dashed with the works/lives and/or dead place. For example, an artist previously categorized as Cuban, who works and lives in Miami (FL) has been re-categorized as Cuban-American. The exception to this rule was any artist that specifically requested the museum categorize them under a specific nationality (i.e. Cristina Lei Rodriguez, Cuban-Japanese-American). While the NSU Art collection is comprised of over 7500 works, only the 679 objects and 338 artists previously classified as Latin American and Latinx were used in this study. Legal citizenship was also not taken into account in this study: therefore the "nationality" data that we provide should be understood as an indication of the birth and lived/worked data that we have, and not as a marker of citizenship. 

Finally, for the three artists whose birth and worked/lived place was not available or found online, these locations were mapped in the middle of the Atlantic Ocean. This choice was not just pragmatic, but also a decision to emphasize the fluid, oceanic journeys undertaken by many of these artists, in which their identities were subject to change. Rather than not including these artists on the map, their inclusion emphasizes this fluidity and indicates the impossibility of total knowledge about the geographic origins and trajectories of human beings.

Introduction

 Rogelio Lopez Marín , b. 1953, Havana, Cuba; lives and works in Miami, FL.  When the Angel Falls 1996. NSU Art Museum Fort Lauderdale. FIC30.2012.

What do we mean when we talk about “diversity” in museums? As evidenced by  recent work in this field , museum professionals and academics have shown great interest in plotting what has been called “diversity” in modern and contemporary American museum collections and exhibitions. Diversity may be conceptualized in multiple ways - such as geographic origin, race, and gender - although, with certain types of art objects, not all of these categories of “diversity” are readily known and documented. Given the power and wealth of American art institutions in collecting practices, and current debates about race and gender equality in the United States, these questions about representation and provenance of art in museums are pressing not only for museum visitors, but also for museum institutions themselves as they plan to acquire artworks for the future and reflect on whose artworks they are displaying and why.

 María Martinez-Cañas , b. 1960, Havana, Cuba; lives and works in Miami, FL.  Somos una historia de distancia (We are History from Afar) 1991. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Paul and Estelle Berg. 98.8.

To provide a closer look at these broader trends in US museums, this project closely examines a single collection (the Latin American & Latinx Collection) in a single museum (the NSU Art Museum) located in Fort Lauderdale, Florida. By analyzing only one collection in a middle-sized museum like the NSU Art Museum, we will be able to discern patterns concerning "diversity" within the collection and to raise questions about the art acquisition techniques used by NSU curator's during the museum's 63-year existence. The central questions that this project poses are: what are the geographic origins of the artists in this NSU collection? In other words, where were artists in the collection born, and what geographic patterns can we discern in this information? What is the gendered distribution of the artists in the NSU Latin American and Latinx collection in terms of both birth location and worked/lived location? Is there a spatial pattern in this gendered distribution? And, finally, what is the date distribution of the aforementioned art in the collection? In other words, does the museum tend to collect artists who were born in a particular decade or era? In sum, this project aims to offer insights into how museum professionals at NSU (and by extension, other museums that collect Latin American and Latinx art) appraise which artists' works should be added to their museum's collections.

“If all the artists in major US museums were represented by 100 people, 88 of them would be men”, states a Guardian  piece  about the lack of representation in museums of the United States and the United Kingdom published in 2019. And, as the article continues, “75% of all artists in major US museums are white men.” To carry on with the one-hundred people picture, the remaining 12 would be women, and only 1 of them would be a WOC [Women of Color]. Therefore, despite the multiple conversations about intersectionality and representation in the production, acquisition, and display of artworks in museums today, there is still a long way to go in terms of ensuring that museums reflect the breadth and diversity of artists who were part of the modern and contemporary art movements of the twentieth century and those artists who continue working today. This project aims to make one small step in that direction, and to use to geographic data to demonstrate why these changes need to happen.

Cartographies of Art

Birth Country Distribution

This first map showcases the birth place of the 339 artists that have been categorized as part of the Latin American and Latinx Collection at NSU. As can be seen, a number of artists were born in Europe or Africa.

The number of artists from each country is represented by the tone of the color of each dot. The lighter the color of the dot, the less artists come from that country.

By zooming in and clicking on each dot, you may explore the artists' biographical information and view one of their works in the collection. You may also narrow down the number of artists shown by selecting one or more birth countries from the list to the right.

Birth date distribution of Latin American and Latinx Artists

You may select one or more decades in the graph below to narrow the artists in the map. As can be observed below, the most common birth decade for artists in the collection is the 1950s, followed closely by the 1940s and then the 1960s. Before 1920 and after 1970 the number of artists born drops off significantly in the collection.

Number of Artists Born in Each Country

In terms of geographic distribution of birthplace, it is clear that the most common country of birth for artists in the collection is Cuba (142 artists), followed distantly by the US and Haiti (36 each), and then Mexico (22), Argentina (21), and Puerto Rico (16). While it is difficult to make any particular claims about this distribution, it is important to note that Cuba is the closest Latin American and Caribbean country to Florida, the location of the museum. Furthermore, Mexico, Haiti, and Puerto Rico (itself a territory of the United States) are all geographically close to the mainland US. Of the top 6 countries of birth of artists in the collection, Argentina is the only exception to this trend of geographic proximity.

Work(ed) and Live(d) Country Distribution

This map showcases the last location of the artists (where they worked and lived) as documented by the NSU Art Museum between 2015-2017.

As above, the number of artists working or living in each country is represented by the tone of the color of each dot. The lighter the color of the dot, the less artists were living or working in that country in 2015-2017.

By zooming in and clicking on each dot, you may explore the artists' biographical information and view one of their works in the collection. You may also narrow down the number of artists shown by selecting one or more birth countries from the list to the right.

Work(ed)/Live(d) Birth date distribution

You may select one or more birth decades in the graph below to narrow the artists in the map. This is the same birth decade information above: however, by toggling each decade, see if you can note any patterns in where artists born in a particular decade decided to move to later in life, and where they produced their artworks. As is immediately apparently, and as will be discussed below, the US becomes a prime destination for individuals as a place to live and work for artists born in several decades (see the 1960s for example).

Number of Artists Who Worked in Each Country

In terms of geographic distribution of places live(d) or work(ed), it is clear that the most common country for artists in the collection is the US (171 artists), followed distantly by the Haiti (32), Mexico (29), Cuba (21), and Puerto Rico (19).

 María Martinez-Cañas , b. 1960, Havana, Cuba; lives and works in Miami, FL.  Regeneration [10] 1999. NSU Art Museum Fort Lauderdale; gift of Olga Ibarra in Memory of Annie Carola Hernandez. 2002.4.

Indeed, this shift to the United States can be visualized geographically. If we compare the first map that displays the places of birth of the artists and the second map that shows the location where they currently live and work (in 2015-2017), we can trace certain patterns in their movements. Most importantly, we can observe that the number of artists that have stablished their workplace in the United States is clearly larger than the number of artists born in there. One could argue that political conflicts in their origin countries (for instance, most of the artists born in Central America relocated), the pursuit of better opportunities, or the  quick growth in Latinx communities  in the US (which accounted for over half of the US population increase in the last decade) could be possible explanations for this particular pattern.

This being said, we also need to take into account that the NSU collection and its artists are part of an American museum and, therefore, it is likely that Latin American and Latinx artist who chose to settle in the United States had a larger potential to be featured in the compilation. In other words, while we can observe some patterns in spatial movement to the USA, we may also hypothesized that this particular museum and its curators already have an inclination to collect these types of artists. Therefore, we need to remember that this spatial pattern may be predetermined by the particular collecting interests and geographic location of the museum itself in Florida, in the United States.

To see how the locations where artists were born compares with the places they live and work, drag the sliding scale on the right back and forth. Notice the increased number and darker hue of dots, each representing an artist, in the United States in the work(ed) and live(d) map.

 Harry Martinez , b. 1958, Santa Clara, Cuba; lives and works in Fort Lauderdale, FL.  Miami Gothic , 1989. NSU Art Museum Fort Lauderdale; gift of the artist. 89.15.

 Luis Mallo , b. 1962, Havana, Cuba; lives and works in Brooklyn, NY.  8 Images from series Passengers, Passengers , 1994-95. NSU Art Museum Fort Lauderdale; gift of the artist. 96.53.D.

NSU currently holds the largest collection of Cuban-born artists in the United States. However, the NSU Museum collection also includes works by artists born in Latin American who currently live and work in Europe/US and vice versa. Therefore, not all artists featured in the "Latin American" collection are necessarily born in Latin America. 

This encourages us to think about how museums make certain interpretative choices in organizing and categorizing their collections: what makes an artist "European" or "Latin American" or "American" may not be entirely linked to the self-identity of the given artist, but due to the labeling practices used by museum professionals to organize and separate their collections. As evidenced by these maps and by these data visualizations of country of origin and country where artists worked and lived, "Latin American and Latinx" is a mutable category that can change based on context.

To see how the locations where artists were born compares with the places they live and work, drag the sliding scale on the visualization to the right back and forth. This time, reflect on how the US circle increases in size because of the number of artists who have moved there from other places in both "Europe" and "Latin America." How do you think this complicates the concept of who is "Latin American" and what artworks counts as "Latin American"?

 Fernando Botero , b. 1932, Medellin, Colombia; lives and works in Paris and Italy.  Autorretrato según Rembrandt (Self-Portrait in Rembrandt' s Style) 1959. NSU Art Museum Fort Lauderdale; promised gift of Pearl and Stanley Goodman. PG2012.1.7.


Art and Gender

As mentioned in the introduction, when it comes to women’s representation in museums and art collections, the numbers are massively low relative to men. Not only is the number of women artists significantly smaller than men’s, but also the total amount of art produced by women acquired by the country’s top museums for their permanent collections between 2008 and 2018 was only 11 percent, according to  this piece  published in the New York Times. 

Click on the data visualization to the right: what trend do you notice between the balance of men and women in the Latin American & Latinx Collection of the NSU Art Museum?

 Karina Chechik , b. 1966, Buenos Aires, Argentina; lives and works in Buenos Aires, Argentina.  The Journey To The Promised Land 2002. NSU Art Museum Fort Lauderdale; gift of the artist. 2005.2.

Place of Birth Distribution With Information about Gender

Legend for the Map to the Right

In the maps to the right, we can appreciate that this tendency is also reflected in the NSU's collection. Out of the 338 artists analyzed, only 62 are women, which is around 18.34% of the total. So, while this figure is slightly above the US average, the proportion of women artists in the collection is still below a fifth of the entirety of the artists in the collection.

 Marta Sánchez , b.1959, San Antonio, TX; lives and works in Philadelphia, PA.  La Danza (The Dance) , March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.45.

Place Work(ed) and Live(d) Distribution With Information about Gender

In observing this map, one interesting pattern is that although several women were born in Europe, none remain there in the live(d) and work(ed) map. Why is this the case?

It is difficult to make any conclusive observations about this, except that perhaps women artists tended to find more opportunities working in the United States as adults than in Europe. However, as with the spatial pattern of movement to the United States noted above, we must be careful not to draw too extensive or decisive conclusions from such tentative data. For example, in order to draw a more conclusive pattern regarding gender and movement to the United States in the field of Latin American and Latinx art, it would first be necessary to compare the dataset examined here with those of other museums.

 Marisol Escobar , b. 1930, Paris, France; d. 2016, New York, NY. Pocahontas, An American Portrait Portfolio #2. 1776-1976. Not Songs of Loyalty Alone, 1976. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Stuart Katz. 78.63.


The Cuban Case Study

Artists born in Cuba

While the collection features artists from a variety of countries, the largest amount of them, one hundred and forty-two, were born in Cuba. Their birthplaces can be seen on the map to the right.

 Gilberto Ruiz , b. 1950, Havana, Cuba; lives and works in Miami, FL.  Like Frogs and Planes (Como sapos y aviones) , 1987. NSU Art Museum Fort Lauderdale; gift of Dr. Fernando Alvarez-Perez. 96.57.

Artists Remaining in Cuba

However, despite this large number of artists born in Cuba, when one reflects on the work(ed) and live(d) maps above, it is clear that many did not remain there. For example, looking at the map to the right, one can see that out of the 142 artists who were originally born in Cuba, only 21 artists live(d) and work(ed) there (as the final location in their lives in 2015-17). In fact, 8 artists passed away in Cuba and only 13 still lived there in 2017 (for a total of 21 linked to the island).

Of the 21 artists that remained on the island, 19 choose to live and work in Havana, demonstrating the centrality of the Cuban capital for the production of art.

 José Bedia , b. 1959, Havana, Cuba; lives and works in Miami, FL.  Destino Final (Final Destiny) , 1997. NSU Art Museum Fort Lauderdale; promised gift of Pearl and Stanley Goodman. PG2012.1.2.

This is an interesting example of how cartography can reflect ongoing political conflicts. After the Revolution led by Castro seized power on the island in the 1950s, tens of thousands of Cuban citizens—a significant number of them wealthy landowners who saw their possessions threatened by the revolution's Marxist principles—fled to the United States. Some artists, confronted with heavy censorship and persecution from the Castro regime, fled the island in the 1980s and 1990s.

According to the  US Census Bureau statistics,  in 2019 there were 1,359,990 Cubans in the United States. Florida, and especially Miami, were the focal point of this flow of migration, receiving around 500,000 Cuban citizens. This wave of arrivals around fifty years ago  has completely transformed  the cultural landscape of the state. It is reasonable to hypothesize that this flow of immigration has also impacted the art world, and it offers a robust reason why "Cuban" is the principal nationality represented in the NSU permanent collection.

Cuban artists around the world

In addition migrating to the US, the Cuban artists in the NSU collection also chose to work and live in Mexico, Costa Rica, Puerto Rico, Dominican Republic, Barbados, Chile, Spain, France, and Belgium. Click on the map to the right to explore where these artists lived and worked after leaving Cuba. Through this lens of the Cuban diaspora, this flow of emigration from the island also invites us to consider the mutability of the identity "Latin American."

 Pablo Cano , b. 1961, Havana, Cuba; lives and works in Miami, FL. Lady Liberty (La dama libertad), 2001. NSU Art Museum Fort Lauderdale; gift of Martin and Cricket Taplin. 2017.8.


 Myrna Báez , b. 1931, Santurce, San Juan, Puerto Rico; d. 2018, Hato Rey, Puerto Rico.  Retrato al óleo (Oil portrait), 1970 . NSU Art Museum Fort Lauderdale; gift of Ms. Regina Tomlinson. 80.56.

Conclusions

While most times maps accurately represent the knowledge already contained in datasets, GIS often offers the possibility of considering angles or perspectives that are not immediately apparent at a first glance. Our goal with this project is to bring awareness to landscapes created in spaces such as museums, which we do not usually associate with geography. Through the maps and data visualizations above, we can detect certain patterns and tendencies when it comes to the geographical or gender distribution of the artists in the collection. While the NSU is a leading institution when it comes to Latin American and Latinx art in the US, it is also noticeable how it still reproduces some of the patterns that sustain a lack of representation for certain identities, particularly female artists. Other potential angles, which may be equally important but perhaps more difficult to chart than gender, might be racial identity and sexual identity. We hope that this project will inspire others to use data from NSU and other museums to investigate the distribution of identities in museum collections and track them spatially over time.

The project, which traces the spatial journeys of the artists that are featured in the NSU collection, also casts a light on how current political conflicts can affect or alter something so (theoretically) distant to the lives of everyday people like the process of art collecting of a museum. In fact, these practices are tied to such varied themes that affect our lives such as immigration, gender, and political conflict. Overall, this exploration of the origins and movements of the artists featured in the NSU Art Museum brings attention to the stories and identities hidden behind the artworks, and how those may affect the collections that spectators enjoy.


Bibliography & References

 Préfète Duffaut , b. 1923, Cyvadier, Haiti; d. 2012, Port-au-Prince, Haiti.  Promenade (Wander) n.d. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Jack N. Holcomb. 84.51.

  1. Lopez, Mark Hugo, et al. “Who Is Hispanic?” Pew Research Center, Pew Research Center, 23 Sept. 2021,  https://www.pewresearch.org/fact-tank/2021/09/23/who-is-hispanic/?fbclid=IwAR0A6FdTPSpPTwh6FmqSzcqyB7ukuqja_pwYC1_RFGNEwVJ6XjX_KAYO8lA.  
  2. Topaz, CM.; Klingenberg, B.; Turek, D.; Heggeseth, B.; Harris, PE.; Blackwood, JC., et al. (2019). Diversity of artists in major U.S. museums. PLoS ONE 14(3): e0212852.  https://doi.org/10.1371/journal.pone.0212852 
  3. Chalabi, Mona. “Museum Art Collections Are Very Male and Very White.” The Guardian, Guardian News and Media, 21 May 2019,  https://www.theguardian.com/news/datablog/2019/may/21/museum-art-collections-study-very-male-very-white.  
  4. NSU Art Museum Fort Lauderdale, https://nsuartmuseum.org/ 
  5. Gamboa, Suzanne, and Nicole Acevedo. “How Latinos Are Growing and Reshaping the United States.” NBCNews.com, NBCUniversal News Group, 15 September 2021,  https://www.nbcnews.com/specials/new-latino-landscape/ 
  6. Jacobs, Julia. “Female Artists Made Little Progress in Museums since 2008, Survey Finds.” The New York Times, The New York Times, 19 Sept. 2019,  https://www.nytimes.com/2019/09/19/arts/design/female-art-agency-partners-sothebys-artists-auction.html 
  7. Noe-Bustamante, Luis, et al. “Facts on Latinos of Cuban Origin in the U.S.” Pew Research Center's Hispanic Trends Project, Pew Research Center, 3 Jan. 2020,  https://www.pewresearch.org/hispanic/fact-sheet/u-s-hispanics-facts-on-cuban-origin-latinos/.  
  8. “Timeline: U.S.-Cuba Relations.” Council on Foreign Relations, Council on Foreign Relations,  https://www.cfr.org/timeline/us-cuba-relations.  
  9. ​​“US Census Bureau.” Explore Census Data, “Place of Birth for the Foreign-born population in the United States”  https://data.census.gov/cedsci/table?t=Place+of+Birth&tid=ACSDT1Y2019.B05006&hidePreview=false&vintage=2019.  

Diana Blanco, Aina Soley i Mateu, & Chase Caldwell Smith

Final Project for Digital Humanities 250: Digital Mapping and Critical Geographic Information Systems

Project Leader & Map Specialist

Diana Blanco

Content & Story Specialist

Aina Soley i Mateu

Web & Image Specialist

Chase Caldwell Smith

 Jacquelin Garçon , b. 1932, Cap-Haitien, Haiti; d. 2007, Port-au-Prince, Haiti.  Mere and Fils (Mother and Child) 1970. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Jack N. Holcomb. 84.59.

 Margaret García , b. 1951, East Los Angeles, CA.  Janine at 39, Mother of Twins March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.17.

 Carmen Lomas Garza , b. 1948, Kingsville, TX; lives and works in San Francisco, CA.  Quinceañera (15th Birthday) March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.21.

(See also the cover image).  María Magdalena Campos-Pons , De Las Dos Aguas (Of The Two Waters), 2007. NSU Art Museum Fort Lauderdale, promised gift of David Horvitz and Francie Bishop Good PG2016.1.8. Downloaded from  C & América Latina .

 Rogelio Lopez Marín , b. 1953, Havana, Cuba; lives and works in Miami, FL.  When the Angel Falls 1996. NSU Art Museum Fort Lauderdale. FIC30.2012.

 María Martinez-Cañas , b. 1960, Havana, Cuba; lives and works in Miami, FL.  Somos una historia de distancia (We are History from Afar) 1991. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Paul and Estelle Berg. 98.8.

 María Martinez-Cañas , b. 1960, Havana, Cuba; lives and works in Miami, FL.  Regeneration [10] 1999. NSU Art Museum Fort Lauderdale; gift of Olga Ibarra in Memory of Annie Carola Hernandez. 2002.4.

 Myrna Báez , b. 1931, Santurce, San Juan, Puerto Rico; d. 2018, Hato Rey, Puerto Rico.  Retrato al óleo (Oil portrait), 1970 . NSU Art Museum Fort Lauderdale; gift of Ms. Regina Tomlinson. 80.56.

 Préfète Duffaut , b. 1923, Cyvadier, Haiti; d. 2012, Port-au-Prince, Haiti.  Promenade (Wander) n.d. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Jack N. Holcomb. 84.51.

 Harry Martinez , b. 1958, Santa Clara, Cuba; lives and works in Fort Lauderdale, FL.  Miami Gothic , 1989. NSU Art Museum Fort Lauderdale; gift of the artist. 89.15.

 Luis Mallo , b. 1962, Havana, Cuba; lives and works in Brooklyn, NY.  8 Images from series Passengers, Passengers , 1994-95. NSU Art Museum Fort Lauderdale; gift of the artist. 96.53.D.

 Fernando Botero , b. 1932, Medellin, Colombia; lives and works in Paris and Italy.  Autorretrato según Rembrandt (Self-Portrait in Rembrandt' s Style) 1959. NSU Art Museum Fort Lauderdale; promised gift of Pearl and Stanley Goodman. PG2012.1.7.

 Karina Chechik , b. 1966, Buenos Aires, Argentina; lives and works in Buenos Aires, Argentina.  The Journey To The Promised Land 2002. NSU Art Museum Fort Lauderdale; gift of the artist. 2005.2.

Legend for the Map to the Right

 Marta Sánchez , b.1959, San Antonio, TX; lives and works in Philadelphia, PA.  La Danza (The Dance) , March 2004-July 2006. NSU Art Museum Fort Lauderdale; gift of Cheech Marin. 2006.14.45.

 Marisol Escobar , b. 1930, Paris, France; d. 2016, New York, NY. Pocahontas, An American Portrait Portfolio #2. 1776-1976. Not Songs of Loyalty Alone, 1976. NSU Art Museum Fort Lauderdale; gift of Mr. and Mrs. Stuart Katz. 78.63.

 Gilberto Ruiz , b. 1950, Havana, Cuba; lives and works in Miami, FL.  Like Frogs and Planes (Como sapos y aviones) , 1987. NSU Art Museum Fort Lauderdale; gift of Dr. Fernando Alvarez-Perez. 96.57.

 José Bedia , b. 1959, Havana, Cuba; lives and works in Miami, FL.  Destino Final (Final Destiny) , 1997. NSU Art Museum Fort Lauderdale; promised gift of Pearl and Stanley Goodman. PG2012.1.2.

 Pablo Cano , b. 1961, Havana, Cuba; lives and works in Miami, FL. Lady Liberty (La dama libertad), 2001. NSU Art Museum Fort Lauderdale; gift of Martin and Cricket Taplin. 2017.8.