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LATIN AMERICAN ART 

MODERN & CONTEMPORARY 

"WITH REGARD TO LIFE, MODERN PAINTING IS A REVOLUTIONARY ACTIVITY…WE NEED IT IN ORDER TO TRANSFORM 

THE WORLD INTO A MORE HUMANE PLACE WHERE MANKIND CAN LIVE IN LIBERTY...WE MUST ACCEPT THESE 

THINGS WITH PASSION. IT MEANS THAT WE MUST LIVE IMAGINATIVELY." 

- WIFREDO LAM

LUCIO FONTANA 

Argentina/Italy, 1899-1968 

"We are living in the mechanical age. Painted canvas and standing plaster figures no 

longer have any reason to exist. What is needed is a change in both essence and form. 

What is needed is the supercession of painting, sculpture, poetry, and music. It is 

necessary to have an art that is in greater harmony with the needs of the new spirit." 

ARTISTS QUOTE

Lucio Fontana 

CONCETTO SPAZIALE, 1960 

WATER PAINT ON CANVAS 

35 x 27 CENTIMETERS

Lucio Fontana 

CONCETTO SPAZIALE, POST WAR 

BRONZE SCULPTURE 

7 7/8 x 8 5/8 INCHES

Cundo Bermudez 

Cuba, 1914-2008 

"When I was young I wanted to be a writer; although I studied at San Alejandro, I never 

intended to take art seriously… I have fun at what I do; the pleasure I get from painting 

is vital for me. I enjoy art like Mozart enjoyed his music. Some people are concerned 

over philosophic pustulates, over universal chaos, over the atomic bomb; for me, 

painting is a celebration of form and color, and nothing more. I left Cuba absolutely 

disillusioned, perhaps because I had believed totally in the revolution. Between 1962 

and 1967, the government obliterated me; I was neither harassed nor prosecuted, 

simply ignored. Exile has affected the individual not the artist; when I arrived in Puerto 

Rico, I felt as if I had reached a region of Cuba I had not known previously. In a way, I 

still feel uprooted, for I do not feel at home anywhere." 

ARTISTS QUOTE 

"One of the painters who has contributed most brilliantly to the historical panorama of 

modern Cuban painting is Cundo Bermúdez… Most of the scholars who have written 

about the art of Bermúdez have concentrated on his cubanidad or Cuba-ness. Indeed, 

among the most apparent aspects of his diverse oeuvre are the forms and colors of 

Cuban architecture, its decorative elements and the vivid suggestions of indigenous 

floral forms." (1999) 

—EDWARD SULLIVAN, ART HISTORIAN, SOTHEBY’S ESSAY


LA ENTREGA (THE SURRENDER), 1971 

MIXED MEDIA ON HEAVY PAPER LAID DOWN ON BOARD 

30 x 22 INCHES / 76 x 56 CENTIMETERS


UNTITLED, circa. 2004 

OIL ON CANVAS 

32 x 25.5 INCHES / 81 x 65 CENTIMETERS

Victor Vasarely 

France, 1906-1997 

"The art of tomorrow will be a collective treasure, or it will not be art at all.." 

ARTISTS QUOTE

Victor Vasarely 

UNTITLED, 1968 

ACRYLIC ON CANVAS 

37.50 x 1.25 x 67 INCHES

Amelia Pelaez 

Cuba, 1896-1968 

"The artist as I see it, is nothing more than a hardworking craftsman who has managed 

to purify and refine his or her trade, which requires daily constant labor, an effort that 

must unfold on a daily basis throughout one's life, from the beginning to the end, without 

needing to renounce all that is fundamental in the lives of those who are not artists. What 

this also means is that the artist never ceases to be an artisan – who can say when one 

has reached a high enough degree of purification and refinement of one's trade?" 

ARTISTS QUOTE

Amelia Pelaez 

FLORENO EN AZUL, 1963 

MIXED MEDIA ON BOARD 

30.25 x 1.75 x x 36.50 INCHES

Fernand Leger 

France, 1881-1955 

"What does that represent? There was never any question in plastic art, in poetry, in music, of 

representing anything. It is a matter of making something beautiful, moving, or dramatic - this 

is by no means the same thing. 

ARTISTS QUOTE

Fernand Leger 

MODERNIST VISION: ROCKEFELLER , 1938 

OIL SKETCH FOR PAINTING 

27.5 x 1.00 x 23.25 INCHES

Alberto Biasi 

Italy, b. 1937 

His vibrant geometric works are characterized by their mathematical precision and elaborate 

symmetry, offering the illusory sensation of movement even if the work remains perfectly still. 

As a founding member of the avant-garde artist collective Gruppo N, Biasi was influenced by 

the Dada movement and was among the first to explore the possibilities of optical illusions in 

painting and sculpture. 

-Artnet

Alberto Biasi 

8-8 8-8inamiche, 1992 

PVC on painted wooden panel 

30 x 20 INCHES / 76.5 x 53 CM

Mario Carreño 

Cuba, 1913-1999 

"After several years dedicated to making abstract painting, I stopped making them 

because I was greatly impacted by the horrors of war. When I was in Europe it seemed 

to be incongruent, in the face of so much horror, to continue painting in abstract form. I 

quit it because I realized that I could not express myself in that form, and decided to do 

it with figurative elements. With these thoughts about the war conflict in mind, I wrote 

the following for the catalog: 

‘This series of drawings suggesting A Petrified World has been the result of my concern 

and fear facing the possibility of a new world war as contrasted with the helplessness of 

the majority of humankind, incapable of preventing such a catastrophe, since 

experience tells us that the final decision has always been in the hands of a few." (1965) 

ARTISTS QUOTE

Mario Carreño 

FIGURAS, 1967 

OIL ON CANVAS 


Carlos Enrique 

Cuba, 1900-1957 

"My work is in a constant state of evolution towards the interpretation of images 

produced between vigilance and sleep, Nevertheless, I am not a surrealist. Currently, I 

am interested in interpreting the sensibility of a Cuban, American or continental 

atmosphere but removed from the methods of the European schools. To do otherwise 

would be like trying to resolve that which is ours with foreign formulas, for oriental art is 

as distant from my sensibility (though it may move me) as is the art of Picasso.” 

ARTISTS QUOTE

Carlos Enriquez 

DESNUDO, 1950 

WATERCOLOR ON GRAPHITE 

23 x 14.5 CENIMETERS / 59 x 37 CENTIMETERS

Carlos Enriquez 

DESNUDO 

OIL ON CANVAS 

17 3/4 x 14 1/8 INCHES

Rene Portocarrero 

Cuba, 1912-1985 

"A vigorous colorist with a forceful expressionistic style, Portocarrero structured his 

paintings with a profuse ornamentation that evolved into the baroque style of his private 

scenes in enclosed spaces, so oppressive as to be stifling...childhood memories recreated 

in his fertile imagination." 

—Roberto Cobas Amate (Curator of Cuban Vanguardia art at Museo Nacional Bellas Artes, Cuba Art and History from 

1868 to Today)

Rene Portocarrero 

FLORA CON PALOMA, 20th CENTURY 

WATERCOLOR ON PAPER LAID DOWNON MAISONITE 

25 x 19 INCHES / 63.5 x 48 CENTIMETERS

Roberto Matta 

Chile, 1911-2002 

"Everything in this painting is psychological... How to picture the battlefield, not the 

physical one, but the one inside of us: fear against courage, criticism, and hate, suspicion 

and trust? An internal bombardment." 

"I was interested in other spaces to do with forms drawn from non-Euclidean geometry 

and the idea of entering these spaces. These structures do not rely on the sense of space, 

as we know it. It is a space without limits and which transforms itself in time - a mutant 

space." 

ARTISTS QUOTE

Roberto Matta 

REPONDRE DU LIMITE, 1961 

OIL ON CANVAS 


Wifredo Lam 

Cuba, 1902-1982 

"I wanted with all my heart to paint the drama of my country, but by thoroughly 

expressing the black spirit, the beauty of the plastic art of the blacks. In this way I could 

act as a Trojan horse that would spew forth hallucinating figures with the power to 

surprise, to disturb the dreams of the exploiters. I knew I was running the risk of not 

being understood by either the man in the street or by the others. But a true picture has 

the power to set the imagination to work even if it takes time. " 

“With regard to life, modern painting is a revolutionary activity...We need it in order to 

transform the world into a more humane place where mankind can live in liberty...We 

must accept these things with passion. It means that we must live imaginatively." 

ARTISTS QUOTE

Wifredo Lam 


PASTEL ON PAPER 

27 x 19 INCHES

Wifredo Lam 


OIL ON CANVAS 


Wifredo Lam 

OISEAU DE FEU/OISEAU DE FER, 1970 

EDITION 9A & 9B OUT OF 500 

POLISHED BRONZE, CHROME PLATED METAL 

10 x 5 x 7 INCHES / 26 x 13 x 18 CENTIMETERS (EACH)

Roberto Fabelo 

Cuba, b.1951 

"The symbology of the woman and the rooster is very much related to our ways, as Cubans, 

of seeing nature. The rooster in our identity is a little bit macho; in our macho culture, it 

represents masculinity. But this doesn’t make my work sexist or macho. You need to 

interpret correctly that the woman is in command, sitting astride the rooster. Both motifs 

unite to express that sort of contradiction, that kind of strange mixture between the 

feminine and the masculine that has been continuously present in my work." 

ARTISTS QUOTE


ENCUENTRO CON LA VIRGEN, 2009 

OIL ON CANVAS 



VENECIA CONTIGO, 2008 

CARTULINA 

150 x 124 CENTIMETERS


CAUTIVA, 2013 

ACRYLIC ON EMBROILED SILK 



SIRENA, 2003 

BRONZE 

140 x 70 x 20 CENTIMETERS


SIRENA, 2013 

ACRYLIC ON EMBROILED SILK 



UN POCO DE ELLA, 2004 

CHARCOAL ON FABRIC 

72 x 53.50 INCHES


GUITARRA FABELO 

MIXTA 

127 x 45.5 x 38.5 CENTIMETERS


VIAJE FANTASTICO, 2010 

EDITION 2 OF 4 

BRONZE 

93.5 x 89 x 40 INCHES / 237.5 x 218 x 101 CENTIMETERS


VIAJE FANTASTICO , 2009 

PASTEL ON CANVAS 

42.9 x 14.5 INCHES

Manuel Mendive 

Cuba, b.1944 

"I cannot separate myself from nature it is embedded in my work. From nature everything 

originates. In my art are all of the energies, all of the vital forces which make life possible. 

There are thousands of hidden energies that surround us; they are watching us and 

protecting us, and they support the same idea: that it is possible to be here, to enjoy 

these energies, and to receive the wisdom that nurtures the soul, and in the company of 

the orishas I make my work. My work is my great hope." 

"My work is my true speech." 

ARTISTS QUOTE


AGUAS DE RIO, 2009 


BRONZE 

85 X 40 X 25 CENTIMETERS


ENERGIA PARA EL AMOR Y LA BONDAD, 2015 

ACRYLIC ON CANVAS AND METAL 

39 X 36 X 17 INCHES


LAS CABEZAS, 2009 

MIXED MEDIA 


Pedro Pablo Oliva 

Cuba, b.1949 

"Everything From the start of my career, I have tried, unintentionally, to record my life, 

my times, and the society that surrounds me—the world I live in, with its contradictions, 

its joys, its sorrows. All of my work is a big fable, or small fables that are intermingled in 

this grand fable which is the Cuban reality… " 

“...I don’t deliberately go in search of cubanía. It’s something in the artist ́s body and 

blood. I belong to a generation graduated in the 1970s, along with Nelson Domínguez, 

Flora Fong, and Eduardo Roca (Choco), for whom it was a theoretical objective to 

maintain, within the artistic expression, a certain tradition of what we call cubanía." 

ARTISTS QUOTE


LOS EL GRAN BESO DE LA MINA, 1997 

OIL ON CANVAS 

90.5 x 81 INCHES / 230 x 205 CENTIMETERS


LOS PASEOS DE JUANITA, 2018 

BRONZE 

DIAMETER 15.50 INCHES; HEIGHT 15.250 INCHES


MUCHACHA CONVERSANDO CON UN GRILLO, 2011 

MIXED MEDIA ON CARDBOARD 


The - Merger 

Mario Miguel Gonzalez, Cuba b. 

1969. Niels Moleiro, Cuba b.1970. 

Alain Pinto, Cuba b.1974. 

“We are a group of Cuban artists. Alain is a graduate of the Instituto Superior de Arte 

(ISA), and the other two (Niels and Mayito) are self-taught. We have been involved in the 

world of visual arts since a young age, but with some maturity in our individual careers, 

we decided to merge. After several collaborative projects and exhibitions, we discovered 

that working together was more fun and resulted in better work. Sculpture is our strong 

point, we have experimented with black steel, stainless steel, brass, aluminum, resin, 

glass, marble and wood. Each sculpture is preceded by a serious study in watercolor or 

acrylic on canvas, gouache, drawings, silkscreen, photography or upholstery, so we do 

not turn away from our original expressions. " 

ARTISTS QUOTE

The - Merger 

SEX MACHINE, 2010 


STAINLESS STEEL AND QUARTZ 

15.3 x 8.7 INCHES / 39 x 22 CENTIMETERS

The - Merger 

SEX MACHINE, 2013 


STAINLESS STEEL WITH POWDER COATING 

7 x 2 FEET

Alfredo Sosabravo 

Cuba, b.1930 

"Alfredo Sosabravo was a completely different artist in terms of content, approach and intent. 

He created an uncontaminated space independent of contingencies and full of delightful 

characters, and presented the most controversial events with seeming complacency. His 

addition of monochrome fabrics sewn into the canvas to produce dense textures was an 

almost artisanal process, and a singular was of approaching collage. " 

—Liana Rios Fitzsimmons (Curator of the 1960’s at Museo Nacional Bellas Artes, Cuba Art and History from 

1868 to Today)


DOS MARINEROS, 2006 

OIL ON CANVAS WITH TEXTILE 



PENSANDO EN WARHOL, 2013 

OIL, THREAD, AND FABRIC APPLIQUE ON CANVAS 

254 3/4 × 39 1/8 INCHES / 139.1 × 99.4 CENTIMETERS

Carlos Quintana 

Cuba, b.1966 

“Painting is something physical for me, with violent movements, effort, truth.." 

"I understand art as a way of moderate and constant salvation, within the mystery that is life, 

and being conscious of it. Art is in itself an unsolvable mystery...True art, the one that 

endures, leaves in us permanent traces -- a mystery within another mystery. It's the way to 

understand myself and it explains why I am here, even if I can't explain it all. " 

ARTISTS QUOTE


NI FLOWERS, 2009 

MIXED MEDIA ON CANVAS 

59 × 59 INCHES / 150 × 150 CENTIMETERS



MIXED MEDIA ON CANVAS 


Gabriel Sanchez Toledo 

Cuba, b. 1979 

"Gabriel’s brushstrokes are daring and irreverent, with a predominance of drips and 

stains caused by thinner on the material. All of that creates a gauzy background for the 

objects depicted, a setting permeating with fog and mysticism…” 

—Piter Ortega, Art Critic 

"His work speaks from a perspective of universality or cosmogony trying to overcome 

geographic localism while exalting the ambiguity of natural references and the multiple 

visual sensations they may induce. The underlying ideas are based on the paradox of 

meaning that provokes the meeting of elements within a subtle anachronistic 

landscape, that’s decontextualized. The visual results of this mix, are almost surrealistic 

compositions, with a calling to hide, compelling the viewer to enter a world full of 

metaphors and allegories. " 

—Hamlet Fernández (Art Critic, Professor University of Havana)


LA SAGRADA FAMILIA, 2011 




PATRONAS, 2011 




CHRYSLER, 2011 




BIG BEN, 2011 



Javier Del Cristo Berrio 

Colombia, b.1970 

"Drawing is my passion and it expands the way I think and the way I express exsistence. My 

paintings have evolved with my thoughts and life experiences. 

I believe and recreate forms and I dare to fantasize in an atomized world. Fantasy for me is 

love and I take refuge in to know what I have made, my drawings they speak of images of 

timeless fantasies that are of dream machines, they are also organisms of mystic-magic 

and baroque composition. 

…My drawings are an invitation to reconnect with the oneirism and to make an effort for 

the fantasy to not abandon the art world and for the man to not forget his ability to 

fantasize. " 

ARTISTS QUOTE

Javier Del Cristo Berrio 

A LEONARDO, 2011 

INK ON HEAVY PAPER 


Ulises Bretaña 

Cuba, b. 1957 

“This artist is moved by several subjects: from environment conservation to the recreation 

of universal symbols, such as El Quixote, including evidences of the absurd, grief, sadness, 

or happiness. More than the divine, the humane is what moves Bretaña. He is a member of 

the Union of writers and Artists of Cuba.” 

—Mario Vizcaíno

Ulises Bretaña 

EL MIRADOR, CIRCA 21ST CENTURY 

OIL ON CANVAS 


John Chamberlain 

United States, 1927-2011 

"John Chamberlain made an indelible mark on the history of art in the 20th century. He was 

a spectacular, roaring figure who embodied the fierceness of mid-century American art 

and who was unparalleled in his adaptation of unlikely materials for his sculptures." 

—Larry Gagosian 

"You have a fit, and you have a form, and you have a color. And so all of these three parts 

are...I'm running out of words.” He goes on, “They're having a good time together, if you 

put them together well” 

ARTISTS QUOTE 

“The shared vocabulary of Chamberlain sources and his creations befuddle the works' 

integrity and leave them to languish like wild unicorns in a herd of ponies, like sonnets in a 

pile of traffic tickets. You have to see them in the round and walk around them, and there 

are not enough words or numbers to describe the formal mastery of the individual works. " 

—Dave Hickey, Art Critic

John Chamberlain 

SNOOGIE FANTABULUS, 1989 

COLLAGE, MONOTYPE IN COLORS ON TWO 

SHEETS OF WOVEN PAPER 

82 3/4 × 29 INCHES / 209.2 × 73.6 

CENTIMETERS

Kenneth Noland 


"When you look at a great painting it’s like a conversation. It has questions for you. It raises 

questions in you.... ...Being an artist is about discovering things after you’ve done them. Like 

Cézanne – after twenty years of that mountain (St. Victoire, fh) he found out what he was doing. 

If it isn’t a process of discovery, it shows." 

"I wanted to have color be the origin of the painting. I was trying to neutralize the layout, the 

shape, the composition...I wanted to make color the generating force. " 

ARTISTS QUOTE

Kenneth Noland 

RAINS, 1985 

HAND COLORING ON HEAVY WOVEN PAPER 

81 1/2 x 52 1/2 INCHES / 207 x 133.3 CENTIMETERS

Pablo Atchugarry 

Uruguay, b.1954 

"Art is the deepest expression where past and future merges, they create a platform for the 

flight of new generations..." 

"My images are a search for the possibility of living in harmony with each other and with 

nature, in which contrasts and contradictions should be cherished.” 

ARTISTS QUOTE 

"Atchugarry’s pieces suggest stories and emotions in abundance. Their forms equate to those 

of human subjects and invite speculation. More organic shapes thrive and compete as in 

Nature. Symbols and narrative echoes demand that these pieces be taken seriously and 

refute all attempts to see them as merely pretty or ornamental, for abstract they are not." 

—David Lee, Art Critic

Pablo Atchugarry 

LA DONNA, 1999 

CARRACO BIANCO MARBLE 

372 x 150 x 80 CENTIMETERS

Frank Stella 

United States, b.1936 

"My painting is based on the fact that only what can be seen there is there. It really is an 

object. What you see is what you see.” 

"I always get into arguments with people who want to retain the old values in painting – the 

humanistic values that they... find on the canvas. If you pin them down, they always end up 

asserting that there is something there besides the paint on the canvas. My painting is 

based on the fact that only what can be seen there is there... What you see is what you get." 

"No art is any good unless you can feel how it's put together. By and large it's the eye, the 

hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete 

gesture, the totality of the artist's body; you can really lean on it." 

ARTISTS QUOTE

Frank Stella 

WAKE ISLAND RAIL, 1977 

ACRYLIC, PAPER COLLAGE, SILKSCREEN AND GLITTER ON PAPER 

60 1/8 x 84 1⁄4 INCHES / 152.7 x 214 CENTIMETERS

Jose Mijares 

Cuba, 1921-2004 

“In my subconscious there is an inner landscape that is Cuba,'' the painter said in an 

interview in 2001. 

``Since I was exiled at an older age, that landscape cannot be erased" 

ARTISTS QUOTE

Jose Mijares 

MITOSIS, 1978 

OIL ON CANVAS 

50 x 30 INCHES

Jose Mijares 

UNTITLED, CIRCA. 2OTH CENTURY 

OIL AND PAPER COLLAGE ON BOARD 

22 1⁄4 x 16 INCHES / 57 x 41 CENTIMETERS

Edgar Negret 

Colombia, 1920-2012 

Edgar Negret was a Colombian artist known for his geometric sculptures. His works depicted 

natural forms like the sun and flowers using industrial materials. It was the artist’s feeling that 

repurposing mechanical forms into non-utilitarian objects was a magical act.

Edgar Negret 

ESPEJO DE AGUA REFLEJANDO LA CRUZ DEL SUR, 1993 

PAINTED ALUMINUM 

38 1⁄4 x 38 1⁄4 x 4 1⁄2 INCHES / 98 x 98 x 11 CENTIMETERS

Omar Rayo 

Colombia, 1928-2010 

"Rayo’s “legacy” is vast, almost measureless. He was also a sculptor, designer, editor, 

photographer, cultural agent, thinker and writer — but best known for his visual 

productions." 

—Miguel Gomez, Curator 

"Presenting severe black and white contrasts, his constructions reveal a clear search for 

maximum tensions, a predominantly thoughtful vision that is not content with simple 

illusory effects or ghostly pastimes" 

—Roberto Guevara, Art Critic 

"In my works I use the red and black as dominant colors. The red color was used by our 

ancestors of pre-columbian tribes in the same manner as we use the black color in the 

contemporary western culture, I mean, they used it to make disappear things. I found the 

red color in the shadows and used it thinking it was black. " 

ARTISTS QUOTE

Omar Rayo 

EMBRIÓN DE DRAGÓN XX, 1997 



Omar Rayo 

VELAMEN DEL WAYUU XXV, 1992 

OIL ON CANVAS 

56.250 x 56.250 INCHES

Manolo Valdes 

Spain, b.1942 

"I always say that what I do is commenting on others’ work, just like one comments on 

literature, theatre, or music. My comment happens to be special. This peculiar way of 

commenting on others’ work is precisely the one which belongs to me.” 

“That is what art is all about—how to invent many projects from one single image." 

“I am just a narrator who comments on the history of painting in various ways, using new 

materials." 

ARTISTS QUOTE

Manolo Valdes 

DESNUDO SOBRE FONDO OSCURO, 2010 

OIL AND BURLAP, COLLAGE ON BURLAP 

184.5 x 121 CENTIMETERS

Anselm Reyle 

Germany, b.1970 

"I have always been interested in the question about when something becomes art and it is 

the answer for this I am seeking... Because my whole work is based on found things it can 

be a stripe painting that I found in a catalogue, it can be foil, it can be something from the 

museum, or it can be trash or something I have found second-hand, but there has to be a 

moment of personal fascination, or a moment where I get an idea. I never start a work from 

the ground; it is always based on something that has been before. It is like a transformation 

of objects to art. " 

ARTISTS QUOTE

Anselm Reyle 


ACRYLIC, PVC FOIL AND MIRRORED PLEXIGLAS 

100 3⁄4 X 90 3⁄4 INCHES / 256 × 205 CENTIMETERS

Zilia Sanchez 

Cuba, b.1926 

"Sanchez’s signature style of stretching canvas over handmade wooden armatures gives 

Minimalism a new dimension...Sanchez’s paintings are deeply entrenched in the Minimalist 

realm of order and structure that call foremost attention to the materials and the palpability 

of the objects." 

—Bansie Vasvani, Art Critic

Zilia Sanchez 

TOPOLOGIA EROTICA, CA. 1970 

ACRYLIC ON CANVAS MOUNTED ON A WOOD STRUCTURE 

96 x 96 INCHES / 243 × 243 CENTIMETERS

Sam Francis 


Sam Francis was an American artist known for his exuberantly colorful, large-scale abstract 

paintings. His practice incorporated elements from Abstract Expressionism, Color Field 

painting, Impressionism, and Eastern philosophy to create a unique style of painterly 

abstraction.

Sam Francis 



92 x 92 CENTIMETERS

KAWS 

New Jersey, 1974-PRESENT 

Kaws' acrylic paintings and sculpture have many repeating images, all meant to be 

universally understood, surpassing languages and cultures. Some of his characters 

that date back to the beginning of his career in the 1990s: Companion (created in 

1999), Accomplice, Chum and Bendy. One of his early series, Package Paintings, was 

[4] [1] 

made in 2000. This series, The Kimpsons, subverted the American cartoon The 

Simpsons. Kaws explains that he "found it weird how infused a cartoon could become 

in people's lives; the impact it could have, compared to regular politics." In addition, 

[8] 

he has reworked other familiar characters such as Mickey Mouse, the Michelin Man, 

the Smurfs, Snoopy, and SpongeBob SquarePants.

KAWS 

FOUR-FOOT DISSECTED COMPANION, 2009 

PAINTED CAST VINYL 

128.2 x 57 x 35 CENTIMETERS 

1 of 100

Niki de Saint Phalle 

France, 1930-2002 

Niki de Saint Phalle paired bold, jubilant, and cartoonish feminine forms with dark and 

disturbing material in her multifaceted artistic career. Throughout, she continually disrupted 

long-held conventions in art, and her iconoclastic approach to her identity and society at 

large made her an early and important voice to both the feminist movement and the 

development of early conceptual art.

Niki de Saint Phalle 

HOMMAGE A JEAN TINGUELY, 1988 

RESIN, PAINT, BULBS AND WIRE 

62 x 32 x 22 INCHES / 157 x 82 x 55 CENTIMETERS

Ahmet Gunestekin 

Turkey, b.1966 

"Imagine that you are in a dark cave or a lightless lift. Even in that utter darkness, after a 

while you will see a light, and will hope that something is going to save you. Light means 

salvation to me. This is the idea that determines the geometrical forms in my works. This is 

the light that comes through the darkness. My works give me an opportunity for salvation. I 

rediscovered that colors I suppressed for years. " 

ARTISTS QUOTE

Ahmet Gunestekin 

THE PAIN OF PROMETHEUS (PROMETHEUS’ UN ACISI), 2012 

OIL ON CANVAS 

47 1⁄4 x 86 5/8 INCHES / 120 x 220 CENTIMETERS

Miami, FL | PH (305) 822-5017 | www.lepacollection.com | Info@lepacollection.com

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