Abstract
Back in the early nineties, the enthusiasm seemed unstoppable, although it was possible to discern even then that weak arguments sustained it. The group relocation of Cuba's famed eighties generation from Havana to Mexico City and from there to Monterrey, Miami, and New York opened up an extraordinary prospect: the “extraterritorial” manifestation of an artistic phenomenon generated by the historical and political milieu of Cuba. Journal-ists, critics, and artists themselves entertained the possibility of the continuity of Cuban art outside of Cuba.
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