Figure Blanche 

Editor: This is *Figure Blanche* by Wifredo Lam, a mixed-media monotype print. The stark black and white is so striking! There's something both unsettling and intriguing about the abstracted forms. What do you see in this piece? Curator: This work certainly exemplifies Lam's engagement with Surrealism and Cubism while also drawing upon his Afro-Cuban heritage. As a historian, I see this piece speaking to the complex dialogue between European avant-garde movements and post-colonial artistic identities. Consider the political climate in Cuba at the time—did this visual language serve as a subtle critique? Editor: A critique? It’s so abstract, how could it be a political statement? Curator: Abstraction itself can be a form of resistance. During periods of censorship, artists often turn to abstract or symbolic forms to express subversive ideas. Think about the way Lam synthesizes Western modernism with imagery rooted in Afro-Cuban spirituality. Isn't that synthesis in itself a statement of cultural independence? What's your take? Editor: I never thought about abstraction that way! Seeing the fusion of styles now, I can definitely see how it could signal a pushback against purely European influences. So, museums choosing to display his work—was that a political act, too? Curator: Precisely. By showcasing Lam's work, institutions actively participated in a broader conversation about cultural hybridity, post-colonial identity, and the decolonization of the art world. Editor: Wow, that’s given me so much to think about! Curator: And for me as well! Considering the legacy of his pieces shown today makes me view the political role of this work with more nuance.