ABSTRACT

As I reflect on the Cuban art boom of the 1980s from 90 miles away in search of the original causes that led to its explosive period in the late 1980s, I determine once again that to understand it I must look at it sociologically rather than aesthetically. All artistic movements relate to the times in which they are born, but in this case the sociopolitical circumstances were so extraordinary that they shook up the course of everyday life in a small country.