Pedro Abascal, in Dossier Havana, presented a photographic series that examined the city of Havana as a site of intimate experience and critical observation, revealing, through everyday gestures, reflections, and vulnerable presences, how photography could articulate a personal truth in which testimony and poetry coexisted in tension with urban history and memory.

Pedro Abascal, in Dossier Havana, presented a photographic series that examined the city of Havana as a site of intimate experience and critical observation, revealing, through everyday gestures, reflections, and vulnerable presences, how photography could articulate a personal truth in which testimony and poetry coexisted in tension with urban history and memory.

Claudia Ricardo (Kina Matahari), in Next to Nothing, presented a body of paintings and assemblages that examined the tensions between absence and presence, body and power, using minimalist forms, autobiographical symbols, and performative gestures to reveal how identity, memory, and resistance could be inscribed onto the pictorial surface as a political and existential affirmation.

Mark (Phan Minh Duc Nguyen), in Two Cities, Two Eyes, Same People ( December 12th - 26th, 2026), presented a photographic series that examined the daily lives of workers and passersby in Vietnam and the United States, revealing, through color and the relationship between body and architecture, how urban experience formed a human continuity that transcended geographic and cultural distance.

Mark (Phan Minh Duc Nguyen), in Two Cities, Two Eyes, Same People ( December 12th - 26th, 2026), presented a photographic series that examined the daily lives of workers and passersby in Vietnam and the United States, revealing, through color and the relationship between body and architecture, how urban experience formed a human continuity that transcended geographic and cultural distance.

Rafael Zarza, in Rafael Zarza. Toda la corrida artística, was the subject of a monographic study written by Hamlet Fernández Díaz that systematically examined his production from the 1960s to the present, revealing, through an extensive critical essay and a substantial body of images, the symbolic coherence, satirical force, and structural significance of one of the most singular trajectories in contemporary Cuban art.