South Florida Latin American Photography Forum

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Platform dedicated to bring visibility to the work of photographers that live and work in the USA and other areas covering with their work issues related to the Latin American community and their countries of origin (Hispanic America, Brazil, and Haiti).

📸 ON OUR FOTOLIBRO RADAR: Habanero by Orestes GonzálezNew entry into our fotolibro collection: Havana-set work from Cuba...
08/21/2026

📸 ON OUR FOTOLIBRO RADAR: Habanero by Orestes González

New entry into our fotolibro collection: Havana-set work from Cuban American photographer Orestes González (b. Havana, based in New York) arrives with critical company: essays by curator Grethel Morell Otero and critic Andrés Isaac Santana frame the book as a deliberate refusal of "Cuban tropes" — no postcard Havana, no tropical nostalgia. González, trained as an architect, turns his eye instead toward interiors, objects, and the unexplained: rooms, gestures, the spaces between people.

Habanero takes a serious, unsentimental position in a genre this crowded with cliché — closer to conceptual documentary than diaspora nostalgia, grounded in González's architectural training and his refusal of the postcard version of Havana. Worth a look. 👀

Photos © Orestes González from Habanero



About Orestes González
Orestes González is a Cuban American photographer based in New York. Born in Havana and raised in South Florida, he earned a Bachelor of Architecture from the University of Texas at Austin before moving to New York City in 1987, where he worked in architectural preservation. After 2001, he shifted his focus to photography, studying independently at the International Center of Photography. His first monograph, Julio's House (+KGP/MONOLITH, 2017), built from photographs taken inside his late uncle's Little Havana home, was exhibited at SF Camerawork, the Fredric Snitzer Gallery in Miami, and at the Fábrica de Arte Cubano in Havana.

📚

This past Saturday afternoon at LnS Art Gallery, art lovers, historians, and collectors gathered to talk about Ana Mendi...
08/09/2026

This past Saturday afternoon at LnS Art Gallery, art lovers, historians, and collectors gathered to talk about Ana Mendieta’s work — in conversation with her current monumental exhibition at London’s Tate Modern. Moderated by art historian Dr. Carol Damian and LnS Gallery owner Sergio Cernuda, the conversation explored how Mendieta approached photography as an art form in its own right rather than mere documentation, her formative years and early production in Iowa, her deep interest in pre-Columbian culture — including the Taíno — which intensified after her trips to Oaxaca, Mexico, her place as the first Cuban American artist to receive a major retrospective at the Tate, the exhibition’s thematic curatorial strategy, and the critical attention it has drawn — including a five-star review and four-page feature in The Guardian, and coverage in The New Yorker.

About the artist: Ana Mendieta (1948–1985) was a Cuban-born American artist exiled to the U.S. as a child. Working across earth-body pieces, photography, film, and sculpture, she used her own body and natural materials — fire, blood, water, flowers, earth — to explore displacement, identity, and violence against women. Her Silueta Series remains one of the most influential bodies of work in 20th-century performance and land art.

On view now: “Ana Mendieta” at Tate Modern (Tate), through January 17. The exhibition brings together her iconic Silueta Series, newly remastered films, early paintings, and late sculptural works — many never before shown in the UK — extending Mendieta’s dialogue with the natural world beyond the gallery walls. It’s the first in-depth UK survey of her work in over a decade, cementing her place as one of the defining artists of the 20th century.

📍 LnS Gallery Carol Damian

This past Saturday afternoon at LnS Art Gallery, art lovers, historians, and collectors gathered to talk about Ana Mendi...
08/09/2026

This past Saturday afternoon at LnS Art Gallery, art lovers, historians, and collectors gathered to talk about Ana Mendieta's work — in conversation with her current monumental exhibition at London's Tate Modern. Moderated by art historian Dr. Carol Damian and LnS owner Sergio Cernuda, the conversation explored how Mendieta approached photography as an art form in its own right rather than mere documentation, her formative years and early production in Iowa, her deep interest in pre-Columbian culture — including the Taíno — which intensified after her trips to Oaxaca, Mexico, her place as the first Cuban American artist to receive a major retrospective at the Tate, the exhibition's thematic curatorial strategy, and the critical attention it has drawn — including a five-star review and four-page feature in The Guardian, and coverage in The New Yorker.

About the artist: Ana Mendieta (1948–1985) was a Cuban-born American artist exiled to the U.S. as a child. Working across earth-body pieces, photography, film, and sculpture, she used her own body and natural materials — fire, blood, water, flowers, earth — to explore displacement, identity, and violence against women. Her Silueta Series remains one of the most influential bodies of work in 20th-century performance and land art.

On view now: "Ana Mendieta" at Tate Modern (), through January 17. The exhibition brings together her iconic Silueta Series, newly remastered films, early paintings, and late sculptural works — many never before shown in the UK — extending Mendieta's dialogue with the natural world beyond the gallery walls. It's the first in-depth UK survey of her work in over a decade, cementing her place as one of the defining artists of the 20th century.

📍

📸 NEW PUBLICATION ON SOFLAFOTO 📸For over two decades, photographer photo has called himself a flâneur — but Miami was n...
07/29/2026

📸 NEW PUBLICATION ON SOFLAFOTO 📸

For over two decades, photographer photo has called himself a flâneur — but Miami was never built for wandering on foot. 🚗"

In his new essay, The Windshield Flâneur, SoFLaFoto founder William Riera traces 20+ years of his own street photography practice: riding buses aimlessly through Havana as a young man, documenting Miami's urban shrines, driving the empty streets of pandemic-era Miami, watching neighborhoods he once knew by heart slowly become unrecognizable. As his connection to the city's sidewalks thinned, so did his output — until he realized the practice hadn't disappeared. It had just moved behind glass. 🪟

That realization gave the essay its title: the windshield flâneur — a way of looking built for a city that stopped making room for its own walkers. Half the practice happens through the windshield at 40 miles an hour; the other half happens on foot, in the rare moments he finally pulls over. 🚶

It's a deeply personal essay, but we suspect a lot of South Florida photographers will recognize themselves in it too. 👀 It closes on a question the author still hasn't answered himself.

🔗 Read it now — link in bio.

📝 By

Last weekend, we ventured north of Miami, visiting the Norton Museum in West Palm Beach to experience their latest exhib...
07/18/2026

Last weekend, we ventured north of Miami, visiting the Norton Museum in West Palm Beach to experience their latest exhibitions. At their photography-dedicated gallery, the exhibition 60 Seconds: Polaroids from the Collection was on view, and it's not to be missed.

The show centers on instant film's signature magic: a photograph that develops in plain sight, turning the camera itself into a self-contained darkroom. Since Edwin Land's 1948 "Land Camera" launched the format, artists have pushed instant film past the casual snapshot, embracing its imperfections and unpredictability to blur the line between documentation and invention. Drawn entirely from the Norton's own collection, 60 Seconds proves Polaroid is far from a retro novelty — it's a medium artists still turn to precisely because no two images are ever the same.

On view:
📷 Polaroids (Edwin Land holding camera), 2013 — Matthew Brandt
📷 Field of Rest, 2011 — Cyprien Gaillard
📷 Multichrome Monochrome (White), 2008 — Elle Carey
📷 Portrait Photograph Series, c. 1990s — Dawoud Bey
📷 Near Lake Grove, 2025 — Trevor Paglen
📷 Untitled, date unknown — Walker Evans
📷 Little Red Book (F105), 1971 — Andy Warhol
📷 When I Am Not Here/Estoy Allá, Tríptico I, 1996 — María Magdalena Campos-Pons

One work we can't stop thinking about: Campos-Pons's When I Am Not Here/Estoy Allá, Tríptico I. Working in the oversized Polaroid Polacolor format, the Cuban-born artist turns instant film's monumental scale into a stage for memory, migration, and identity — themes that run through her entire body of work.

A bit about the artist: born in Matanzas, Cuba, in 1959 to a family of Nigerian, Chinese, and Hispanic heritage, Campos-Pons trained in Havana before relocating to the U.S. in the early 1990s. Across photography, performance, and installation, she explores diaspora, Afro-Cuban spirituality, and multicultural identity — work honored with a 2023 MacArthur "Genius Grant" and the 2024 ARTnews Lifetime Achievement Award.

If you're anywhere near West Palm Beach, this one's worth the drive.

Happy 250th Birthday, America!On this Fourth of July, celebrating four photographers whose lenses expanded what "America...
07/04/2026

Happy 250th Birthday, America!

On this Fourth of July, celebrating four photographers whose lenses expanded what "American" looks like.

📷 Louis Carlos Bernal (1941–1993) — Arizona-born, often called the father of Chicano photography. He turned his lens on barrio life in the Southwest — quinceañeras, barbershops, home altars, murals — treating everyday Chicano life as fine art. His work anchored the landmark CARA (Chicano Art: Resistance and Affirmation) exhibition.

📷 Laura Aguilar (1959–2018) — LA-based Chicana photographer known for "Latina Le****ns" and her n**e self-portraits in the desert. She photographed body and identity with unflinching honesty, giving visibility to q***r, working-class Latina communities the art world ignored. Now in the Getty's permanent collection.

📷 Hiram Maristany (1945–2022) — Nuyorican photographer, official photographer of the Young Lords Party in East Harlem. For 60+ years he documented Puerto Rican life in El Barrio — activism, family, street life — and helped found El Museo del Barrio. His photos live in the Smithsonian and NMAAHC.

📷 Mario Algaze (1947–2022) — exiled from Cuba at 13, based in Miami, he spent decades photographing life across Latin America and the Cuban exile community, including his 1983 "Little Havana Series." His soft, atmospheric light is quieter than typical photojournalism, but deeply about identity and exile.

Their work isn't a footnote to American photography — it's the story of America, told from the barrio, the bar, and the block. 🇺🇸

Photos:
Louis Carlos Bernal, Kennedy Cocio Altar, Tucson, 1980. Center for Creative Photography, U of Arizona; © Lisa Bernal Brethour and Katrina Ann Bernal.
Laura Aguilar, Self-Portrait, 1983.
Hiram Maristany, Abuelita Maristany, 1969.
Mario Algaze, Domino Park, from the series Little Havana, 1983.

"Liberty, to be viable, must be sincere and complete; if the republic does not open its arms to all and include all in its progress, it dies."
— José Martí, "Nuestra América," 1891

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoin...
06/28/2026

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoing research project Picturing Q***rness in the Americas.

📷 Andreina Fuentes Angarita, Transdecision, Transdecision II, Transdecision III, 2021. View of the artwork in the exhibition.
© Raquel Cartaya

This triptych brings the collector into her own archive — but not as a self-referential gesture. Fuentes Angarita was present with three trans women — Gabriela Amaya Cruz in Miami, Rummie Quintero Verdú in Caracas, Alex de la Croix in Madrid — through the legal and psychosocial processes of gender recognition, documenting a civil right that trans communities have been systematically denied. These aren't portraits of subjects; they're evidence of a relationship sustained over time, across the same three cities the collection itself calls home. Thirty years into building this archive, the artist meets her own wound not as an observer surveying it from outside, but as someone who chose to accompany.

About the artist: Andreina Fuentes Angarita (b. Caracas, Venezuela, 1968) is a Venezuelan-born, Miami-based artist and philanthropist. She founded the Foundation for Emerging Art in Caracas in 1996; after Venezuela's political crisis put her family at risk, the collection relocated to Miami and was formalized under its current name in 2006 through the Arts Connection Foundation. It now holds over 1,500 works by more than 150 artists, organized around identity under coercion, the body as resistance, diaspora, and the documentation of communities institutional collections have failed to record. As both collector and practicing artist, she occupies a position that refuses to separate the act of looking from the act of being seen.

🔗 Read the full essay on the Fuentes Angarita Collection: https://www.soflafoto.org/publication-article-q***rnes-fuentes-angarita-collection

🔗 Learn more about the author here:
https://andreinafuentesangarita.com/about-me/

Nina Fuentes Fuentes Angarita Collection

***rness ***rArt

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoin...
06/26/2026

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoing research project Picturing Q***rness in the Americas.

📷 Muu Blanco, Ella soy Yo (Re Sampling), 1992/2018. Installation view, "30 años de irreverencia y visión," Museo Centro de Artes de Vanguardia La Neomudéjar, Madrid.
"She is me." The title does the work of the piece: an existing image is resampled and reclaimed, and the act of naming it transfers authorship — and identification — onto the subject the image had borrowed from someone else. The dual date is the point. The work began in the same early-1990s Caracas moment that also produced Fran Beaufrand's and Nelson Garrido's earliest provocations, then returned twenty-six years later, remade in Miami — the same migration the Fuentes Angarita Collection itself traces, from a Caracas avant-garde to a Miami diaspora still working through what it carried with it. In Madrid, it hung as one print from a small, lettered edition of the same title — each one a separate act of resampling, not a single fixed image.

About the artist:
Muu Blanco is the artistic name of José Antonio Blanco Ángulo (b. Caracas, Venezuela, 1966), a photographer, musician, and multidisciplinary artist now based in Miami. He studied at the Instituto Federico Brandt and earned a degree in visual arts at IUESAPAR, later pursuing graduate study in contemporary representation. His practice moves across photography, assemblage, video, and electronic music, and has been shown in the United States, Germany, Canada, Argentina, and Colombia.

🔗 Read the full essay on the Fuentes Angarita Collection: soflafoto.org/publication-article-q***rnes-fuentes-angarita-collection

🔗 More on the artist via the collection: fuentesangaritacollection.org/muu-blanco-2/

Fuentes Angarita Collection Jose Antonio Blanco Ángulo

***rness ***rArt

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoin...
06/24/2026

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoing research project Picturing Q***rness in the Americas.

📷 © William Riera. View of the author's artwork.
Consuelo Castañeda, To Be Bilingual, Lesson No. 2, 2008. Installation view, Museo Centro de Artes de Vanguardia La Neomudéjar, Madrid.

At "30 años de irreverencia y visión" (Thirty Years of Irreverence and Vision), Castañeda's two panels were installed against the museum's dense, grotesque wall murals. On one: a photograph of a torso with "We don't need another hero" running across it in red diagonal type. On the other: a large red panel carrying the full dictionary definition of the word "f**k" — clinical, complete, nothing redacted, word history included. The piece belongs to To Be Bilingual, a series Castañeda began in the 1990s (debuting at the Fredric Snitzer Gallery in Coral Gables in 1995), in which each "lesson" takes a grammatical category — verbs, nouns, art — and uses a dictionary's own clinical language to expose how power decides which words are sanctioned and which aren't. Castañeda calls it a lesson, and it is — in classification, in who decides which words are permitted inside a museum and which bodies are permitted inside a nation. In the exhibition, the piece faced Alexander Apóstol's Ensayando la postura nacional directly across the corridor: his unreachable poses and her forbidden vocabulary, two versions of the same impossible demand.

About the artist: Consuelo Castañeda (b. Havana, Cuba, 1958) was a key figure in the "década prodigiosa" of 1980s Cuban art, teaching at the Instituto Superior de Arte in Havana. Working across painting, installation, photography, and print, her work has helped reshape how art and politics are understood in relation to both Cuba and the wider Latin American context. She received a Cintas Foundation fellowship in 1997–98 and is now based in Miami.

🔗 Read the full essay on the Fuentes Angarita Collection: https://www.soflafoto.org/publication-article-q***rnes-fuentes-angarita-collection

***rness

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoin...
06/22/2026

🏳️‍⚧️ Celebrating Pride from the archives of the Andreina Fuentes Angarita Collection's Q***r Vision, part of our ongoing research project, Picturing Q***rness in the Americas.

📷 © William Riera. View of the author's artwork as displayed in the exhibition.
Artwork: Diana Blok, Act 1: Sor Juana Inés de la Cruz (performer: Jordi Ballester) with Mi Madre (performance: Matheus Nachtergaele), 2023.

Two figures share one screen: Jordi Ballester, in the habit of the 17th-century nun and poet Sor Juana Inés de la Cruz, on the left; Matheus Nachtergaele, as "Mi Madre," on the right. A subtitle runs between them — "they make us wear the scarf / because they cannot see our wet hair" — connecting Sor Juana's persecution by the Inquisition to the bodily control still exercised over women and q***r people today. A man performing a woman punished for knowing too much, set beside the figure of the mother: Blok lets the casting itself make the argument.

About the Artist:
Diana Blok (b. Montevideo, Uruguay, 1952) is the daughter of a Dutch diplomat and an Argentine mother, and spent her childhood across Colombia, Guatemala, and Mexico City, where she studied sociology, before moving to Amsterdam in 1974. She built her photographic practice there, including a collaborative period with photographer Marlo Broekmans that produced the book Invisible Forces. Her work, centered on sexual identity, gender, and the body, is held in collections including the Stedelijk Museum Amsterdam, the Centre Pompidou, the Museo Nacional de Bellas Artes (Buenos Aires), and the Museum of Fine Arts, Houston.

🔗 Read the full essay on the Fuentes Angarita Collection: https://www.soflafoto.org/publication-article-q***rnes-fuentes-angarita-collection

🔗 Visit the Fuentes Angarita Collection: fuentesangaritacollection.org/diana-blok

Fuentes Angarita Collection
Diana Blok

***rness ***rArt

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