She writes, "Toward the end of the 1980s, the representation of the city and Cuban architecture gathered momentum in Cuban photography. With the end of a decade and the emergence of new artists, architecture, cities—especially Havana—and the urban landscape in general became sources of inspiration and a recurring motif.
Since that time we’ve come to recognize a certain privileged tendency, a hegemonic thematic in the contemporary visual framework. Urban spaces have become objects to exploit, pretexts for a largely subjective discourse and a marked shift in avant-garde practices. The photographer “undresses” the city to enter a dialogue about diverse realities, using linguistic transgressions and unorthodox images.
Between 1988 and 1990 various photographers, both emerging and established, opted to explore urban areas of habitation to establish a more conceptual relationship between man (the maker) and his immediate environment, motivated perhaps by the search for external recognition or a need to refresh the focus. The individual (whether male or female) in a social context or in relation to the built environment began to command attention, paradoxically, in the most interesting photodocumentation of the period.
Both the intimate (the home), as well as the collective and plural (the city in its many facets), were recurring motifs in the images of many of the so-called New Photographers of the Revolution: Juan Carlos Alom, Katia Garcia, Pedro Abascal, René Peña, Manuel Piña, Nelson Alfonso (Pinty), Juan Carlos Borjas, Carlos Mayol, and Joseph Ney; or the New Generation of Cuban Photographers, which included—according to critic and historian Juan Antonio Molina--Eduardo Munoz Ordoqui, Marta María Pérez, René Peña, and Juan Carlos Alom.
The new vision offered new opportunities, including the emergence of personal poetry. Previously ignored issues and visions began to surface: old age, the human body (nude, naked, male, female, fragmented, group, black, white, mixed-race, or self-portrait), existential precariousness, immigration, homosexuality, religion, marginalization, everyday customs and popular beliefs. The trace of the individual in social spaces and the glorification of subjectivity, or the so-called visual parable, were among the principal directions of the new photography. From a similar angle the city, architecture, and the home itself appeared as relevant themes.
So urban space gives rise to una mirada doble—a double gaze. One is attuned to the introspective: a coupling of intimate, private space with shared or public space. The other opens to the built environment in search of allegories, meanings, and architectural details on which to hang fragments of a personal testimony...
In these heterogeneous modes of interpretation, we can distinguish four ways of addressing this theme. The first views the city directly: unadorned metaphorically, with an undivided sensibility, whether aesthetic or conceptual. This is formally expressed through architectural views, partial views, signs, or façades. A second strategy objectifies the city or its civic spaces in images that offer ample scope to the idealization of what is portrayed—what we might also call “fictionalizing the document.” A third uses architecture as a reference to shape a discourse that is not necessarily related to architecture. And a fourth model presents architecture as a means of cultural enlightenment and reflection of identity—such as the magnificent images made for Guide to Havana’s Architecture (Andalusian and Spanish Agency for International Cooperation, 1998). In contemporary Cuban photography, these four approaches coexist in complete harmony."