The exhibition "Other Worlds of Art: Artworks from Latin America and Northern Africa," which opened in May 2026 at the Varija Art Gallery of the DakshinaChitra Museum in Chennai, India, brings together graphic work by masters from Latin America and Africa in dialogue with the Indian context. Among the pieces is a work by the Cuban artist Ivonne Ferrer; indeed, one of her images was chosen for the exhibition's poster.

"Other Worlds of Art: Artworks from Latin America and Northern Africa (1980s–2000s)" remains open through June 15. Curated by Liliam Mariana Boti Llanes—a researcher trained in both law and art appraisal, who began her professional path at the Havana Biennial and is the daughter of the renowned curator Llilian Llanes—the exhibition gathers prints and multiples by Latin American and African masters drawn from the Boti-Llanes family collection. Its aim is deliberately one of bridge-building: to foster a dialogue between the Global South and the Indian context, where Latin American and African art remains underrepresented despite parallel historical trajectories and shared social challenges. The exhibition reclaims printmaking not as mere technique, but as a historical tool and a vehicle for social transformation—from the cigar-box lithography of nineteenth-century Cuba to printmaking as an instrument of political reform under the great masters of the Mexican Revolution—and organizes the works around four thematic axes: portraiture, environment, migration, and abstraction. Within that structure coexist names of widely differing origins and registers, such as the Uruguayan conceptualist Luis Camnitzer, the Mexican photographer Graciela Iturbide, the Cuban René Francisco Rodríguez—winner of the National Award for the Arts—and the pioneer of modern African art Valente Malangatana Ngwenya, of Mozambique, whose work carries the pulse of the struggles for independence and cultural identity. The result is a constellation of interconnected responses to universal human experiences—color as contemplation, displacement as wound—that, far from feeling foreign, resonate deeply with the Indian experience and reveal a shared global identity.

Although the exhibition has no direct connection to the Museum of Contemporary Art of the Americas (MoCAA), the fact that works by Cuban artists—many of them represented within its permanent collection—should travel as far as southern India offers a fitting occasion to recall that the museum closely follows the journeys of Cuban art and its projection into the most diverse contexts around the world.

That calling is a strategy the museum wishes to make explicit. Since early 2024, MoCAA has been developing a program to disseminate the work of Cuban artists—many of them based in South Florida—throughout South America and Europe, with exhibitions already held or planned in Brazil, Spain, Ecuador and, later on, Chile, Mexico, and Costa Rica. That these voices should engage with such different audiences confirms the universal reach of contemporary Cuban art.