La imagen sin límites. Exposición antológica de fotografía cubana was on display at Cuba’s National Museum of Fine Arts for a month, through November 26. The exhibition covered nearly one hundred and eighty years. The images were divided into five stages: the beginnings, the Republican era, the epic and the 1970s, the big change, the present. One hundred images by 50 artists, two per photographer, represented an enormous effort in their selection (and obligatory exclusion for lack of space).

It is, thus, one of the many possible versions of the history of Cuban photography. From the initial José Gómez de la Carrera, who photographed the 1895-98 war of independence and major moments of change from the 19th to the 20th century, up to the younger photographers who have burst onto the Cuban artistic scene with good measure and talent (Yanahara Mauri, Alfredo Sarabia Jr., Alejandro González, Jorge Otero, among others), passing through the members of the Cuban Photography Club (1920-1962), among which the most outstanding were José Manuel Acosta, Joaquín Blez, Roberto Rodríguez Decall, to cite a few examples. And, of course, the most renowned artists of the so-called epic photography (Raúl Corrales, Ernesto Fernández, Liborio Noval, Korda, and Osvaldo and Roberto Salas), as well as the protagonists of a reflection point in our photography when, based on postmodern concepts and codes, they radically changed the vision of the island (José Manuel Fors, Marta María Pérez, René Pena, Abigaíl González, Juan Carlos Alom, among others).

Many deserving artists were not represented in La imagen sin límites… but the cut was inevitable. With an excellent catalogue containing the ideas that sustain the curatorship and all of the images, the exhibition represents Cuban photography’s great comeback at the Museum, after a long absence. It is an homage to the island’s photography and its most renowned artists.