From the late 1930s Surrealism found a chosen land in Latin America: André Breton stayed in Mexico in 1938, Wifredo Lam returned to Cuba in 1941, and a whole generation blended automatism with its own mythologies.
Jorge Camacho, a Cuban who settled in Paris, paints landscapes haunted by birds and bones; Joaquín Ferrer builds networked mental architectures; Ramón Alejandro invents fruits that are also machines; the Peruvian Gerardo Chávez fills his canvases with mythological figures.
Cut the paper: something might escape from it.
