LUIS CRUZ AZACETA: WHAT A WONDERFUL WORLD
LUIS CRUZ AZACETA: WHAT A WONDERFUL WORLD FEBRUARY 12 - JULY 24, 2022 OGDEN MUSEUM OF SOUTHERN ART ORGANIZED BY OGDEN MUSEUM OF SOUTHERN ART AND CURATED BY BRADLEY SUMRALL CONTRIBUTING SPONSOR DAVID B. WORKMAN HOST COMMITTEE ARTHUR ROGER GALLERY JEANETTE AND BENJAMIN JAFFE SHARON & GUS KOPRIVA MARILYN OSHMAN SHERRY OWENS CHRISTOPHER PULEO HOLLY & GEOFFREY SNODGRASS CARLA & CLEOPHUS THOMAS Front Cover: Luis Cruz Azaceta, Enmascarado / Desenmascarado (Detail), 2021, Acrylic, colored pencil on canvas, 48 x 96 inches, Collection of the artist, Courtesy of Arthur Roger Gallery
ARTIST STATEMENT
“I PAINT WHAT I SEE AROUND ME, AND I LOOK WITH AN ACCUSING EYE AT WHAT MAN HAS CREATED … I AM JUST A FILTER, A MANY-COLORED VOICE … I PAINT TO KILL LA MUERTE, AND ALSO TO KILL CRUELTY, INJUSTICE, VIOLENCE, IGNORANCE AND HYPOCRISY.” – LUIS CRUZ AZACETA As an artist you use your experiences dealing with your surroundings and your conditions. The condition of being in exile is of being in two places simultaneously – physically in your place of exile, emotionally and spiritually in the place you left behind, your roots. This experience allowed me as an artist to address the condition of violence, racism, isolation separation, oppression and identity through my work. It gave me an eye to understand that this experience goes beyond my personal journey to a perspective of a more global condition that many live within. The world is rapidly changing - the environment, collapsing economies, greed, war, revolution, terrorism, climate change. We are at a point where individuals are rising against political, economic and social justice.
LUIS CRUZ AZACETA: WHAT A WONDERFUL WORLD For over fifty years, Luis Cruz Azaceta has created art, not for art’s sake, but to confront the most pressing issues of his time. Moving deftly between raw figurative expressionism and narrative abstraction, Azaceta conveys his own anxiety and fear about the state of the world through his paintings and sculptures. By bringing attention to current critical issues – violence, war, racism, environmental collapse, natural disasters, tyranny, oppression, pandemic – Azaceta confronts harsh realities with the pictorial force of his work, tempered with his own brand of compassion and selfawareness. He views his work as his voice, and also as a weapon for change. Born in Havana in 1942, Azaceta experienced the violence and turmoil leading to the Cuban Revolution in 1959. As the executions began in the Revolution’s aftermath, he emigrated from his home in 1960 to the United States at the age of 18. In New York he began using painting and drawing as a form of expression, finding his voice and identity through art. After graduating from the School of Visual Arts New York City, he began his professional career in 1975 with his first solo exhibition at Allan Frumkin Gallery in Midtown New York. His early works were figurative and expressionistic. They conveyed the isolation inherent to the immigrant experience, and confronted the critical issues of the time – most notably urban violence and the AIDS pandemic. His figurative paintings captured the zeitgeist of 1970s New York City, boldly engaging the contemporary narrative through imagery both comical and violently emotional. Azaceta moved to New Orleans in 1992. In the years that followed, his work moved gradually toward abstraction. Formally, he began a deeper exploration of visual tensions in his work, wrestling discord into harmony through color, line and material. His works continued to face harsh realities and to explore the human condition. Yet his process and style was (and is) ever-evolving, resisting mannerist repetition and predictability, and allowing for his own discovery through paint. The title of the exhibition is taken from his 1992 painting of the same name. The first major work accomplished in his adopted home, this painting alludes to the jazz song made famous by Louis Armstrong, emphasizes the artist’s ties to the city of New Orleans, and signifies (within the context of this exhibition) Azaceta’s endeavor to make the world better through his artistic practice. Luis Cruz Azaceta: What a Wonderful World brings together works from across five decades to show an artist who has consistently pushed himself and his practice into new territory, both formally and conceptually. It illustrates one man’s unrelenting examination of the human condition through drawing, painting and sculpture. It reveals an artist who believes it is his duty to work for the betterment of humanity. It is that belief in the power of beauty over tyranny, of truth over fear, and in the potential of art to affect change that drives Azaceta’s studio practice. This timely exhibition offers a glimpse into the full scope of that worthy endeavor.
Bradley Sumrall Curator of the Collection Ogden Museum of Southern Art
Self-Portrait as a Mad Arsonist (Detail) 1985 Synthetic polymer paint on plywood Collection of the artist
El Imigrante 1986 Oil stick on paper 40 x 26 inches Collection of the artist, Courtesy of George Adams Gallery
FROM CUBA TO NEW YORK Luis Cruz Azaceta was born on Easter Sunday, 1942 in Havana, Cuba. The son of an airplane mechanic in the Cuban Air Force and a homemaker, his childhood was typical, filled with stickball in the streets and kite fights in the air. With an early love of drawing, he often depicted Disney characters such as Mickey Mouse and Donald Duck. His grandfather was a woodworker and cabinetmaker from Spain, and his uncles were all carpenters. Luis grew up making things in the Azaceta workshop, just feet from the famed Buena Vista Social Club. Creativity saturated his early life in Cuba. In 1957, his life changed as the Cuban Revolution erupted in Havana. Azaceta witnessed violence regularly as the streets of his hometown became the setting for gun battles and bombings, and as Batista’s secret police kidnapped and tortured Cuban citizens. Azaceta graduated from high school in 1959, just as the Cuban Revolution came to an end. When Fidel Castro came into power, the executions began, and businesses were shuttered or confiscated. These critical years in Azaceta’s life – bearing witness to the horrors of war and dictatorship – would inform his view of the world for the rest of his life. His parents decided to send him to live with family in Hoboken, New Jersey, and on November 19 1960, Azaceta arrived in New York on a direct flight from Havana. He was 18 years old. In New York City, Azaceta was immediately struck by the energy surrounding him. His first job was working in a Brooklyn trophy factory, and his daily subway commute exposed him to the chaos of life in such a large metropolis. He began taking night classes in English and American History, exploring the endless diversity and creativity of New York City in his free time. He saw Bob Dylan playing in Washington Square Park, and even bought his first car. Fired from his job for joining a union, Azaceta bought his first art supplies in 1963. He began to draw people on the subway and in the parks – using art as a way to make sense of his world. His next job was in a Manhattan button factory. He was on the edge of the American dream, yet ever aware that he was in exile.
Azaceta enrolled in his first art classes at the Queens Adult Center in Astoria in 1966. After building a portfolio through figure drawing classes, he was accepted into Manhattan’s School of Visual Arts. Quitting his factory job to attend SVA full time, he studied with artists including Leon Golub, Robert Mangold, Dory Ashton and Frank Roth, and he worked nights in the library at New York University. In 1967, he became a naturalized citizen of the US, and graduated from the School of Visual Arts in 1969. While in school, Azaceta was working in the dominant style of the time, Geometric Abstraction. Following graduation, a fateful trip to Europe brought him to Madrid’s Museo del Prado, where he was exposed to the paintings of Francisco Goya. Like Azaceta, Goya had also borne witness to violence and upheaval – 150 years prior during the Napoleonic War and the political unrest that followed. His deeply narrative political paintings resonated with Azaceta (especially the Black Paintings), causing the young artist to question exactly what he needed to say through his own work. Although inspired by Mexican painter José Clemente Orozco and German Expressionists Max Beckman and Otto Dix, as well as European painters including James Ensor, Francis Bacon and Pablo Picasso – it is perhaps Goya who had the most significant effect upon the trajectory of Azaceta’s practice. The revelation of Goya’s work focused Azaceta’s practice upon the human condition, current events, personal narrative and the figure. Returning to New York City, Azaceta quit his job, devoting himself fully to a studio practice. His work became figurative and narrative, addressing the critical issues facing mankind and depicting his own feelings of dislocation and isolation as an immigrant in the urban jungle. In 1975, Luis Cruz Azaceta opened his first solo show of paintings from the Subway Series at Allan Frumkin Gallery on 57th Street in Manhattan. Brightly-colored and expressive, his narrative paintings that followed addressed issues of racism, urban violence, the AIDS epidemic, tyranny, oppression and the immigrant experience. He often used dark humor to emphasize the conceptual and formal tensions of his compositions. The use of the self-portrait in his early practice worked not only to relate his own experience, but to express a solidarity and empathy that would became a theme throughout his career. His work was tough, critical, tense; it was labeled “aberrant” by many. This early work preceded and informed the Neo-Expressionist movement that would erupt in New York in the 1980s. A particularly important milestone in his career occurred in 1984, when The Metropolitan Museum of Art acquired The Dance of Latin America for their permanent collection. These early works represent the beginning of a prolific and influential practice that would lead to his being included in major museum collections across the United States and beyond.
BOOM, BOOM, Dead or Alive 1976 Oil on canvas 75 x 84 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Game of Horrors 1978 Prismacolor on paper 31 x 25 inches Collection of the artist, Courtesy of George Adams Gallery
BANG, BANG YOU ARE DEAD One Two Three An aids victim died A B C Cuban refuges Alien across the fence City bombers planning their Next hit A child cries for his mother A crack-head breaks a glass Window A man builds a box – O.J. runs In his bronco – The Menendez cried in court A lawyer points his finger A mother drowned her kid – a cop chased A mugger – a woman holds a sign – Jesus Saves – the air is polluted – my friend hates his Father His Father hates his Mother His Mother is leaving his Father The children are running away The student carries a gun The drug addict stops a car The blind subway music man kicks his dog A teenager drinks a beer A preacher stands in a corner A soldier shoots his rifle A wedding takes place in the park A rich man counts his money A thirsty man asks for water A clown smiles A sinner prays A dog barks The train runs late The light switch don’t work The Museum of Modern Art is free on Thursday I look at my watch
Bang, Bang You Are Dead by Luis Cruz Azaceta 1996
I stretch a canvas I mix some colors I use a 2 ½ inch brush I listen to Gregorian Chants and Cuban music I change my style I use acrylic paint I nail plywood into the canvas I look at myself in the mirror I kill a roach I make a painting of a barricade I let it drip I change the color I don’t like it I answer the phone I change the color again I flip the CD Tom Waits sings Goya can’t hear Vincent cuts his ear Picasso goes to Spain Mondrian goes to Broadway Beckman smokes a cigarette Frida cut her hair Baselitz upside down Saul’s Day-Glo Arneson picks his nose Tomorrow is coming Tomorrow is today Today is now
Self-Portrait with Mickey Mouse Hat 1978 Prismacolor 18 x 24 inches Collection of Dylan Cruz Azaceta
Tres Tumbas para un Poeta 1978 Prismacolor on paper 18 x 24 inches Collection of the artist, Courtesy of George Adams Gallery
The Gun’s Parade 1979 Acrylic on canvas 66 x 66 inches Collection of the artist, Courtesy of George Adams Gallery
Gun Parade 1980 Ink and pencil on paper 22 x 30 inches Collection of the artist, Courtesy of George Adams Gallery
Shit! My Head is Burning but My Heart is Filled with Love. 1981 Acrylic on canvas 66 x 66 inches Collection of the artist, Courtesy of George Adams Gallery
Bloody Day 1981 Acrylic on canvas 72 x 60 inches Collection of the artist, Courtesy of George Adams Gallery
The Artist and His Labyrinth 1981 Watercolor, artist’s hair and a match on canvas 30 x 22 inches Collection of the artist, Courtesy of George Adams Gallery
Smoking by the Sea 1985 Charcoal, pencil on paper 22 x 30 inches Collection of the artist, Courtesy of George Adams Gallery
Self-Portrait as a Mad Arsonist 1985 Synthetic polymer paint on plywood 9 x 18 feet Collection of the artist
Los Misterios (triptych) 1986 Oil stick on paper 40 x 26 inches Collection of the artist, Courtesy of George Adams Gallery
Caged Man 1987 Wood Construction 15 x 17 x 13 inches Collection of the artist, Courtesy of George Adams Gallery
AIDS Patient / Cross 1990 Acrylic, oil stick on paper 22.5 x 22.5 inches Collection of the artist, Courtesy of George Adams Gallery
AIDS Patient / Blood Sample III 1990 Acrylic on canvas 48 x 48 inches Collection of the artist, Courtesy of George Adams Gallery
FROM NEW YORK TO NEW ORLEANS Luis Cruz Azaceta first visited Louisiana in 1982 at the invitation of Robert Warrens to be visiting artist at Louisiana State University (Warrens was also a painter showing at Allan Frumkin Gallery). At LSU, Azaceta met artist and graduate student, Sharon Jacques, and the connection between the two was immediate. They married later that year, and Jacques – a New Orleans native – returned with him to New York. After almost a decade together in NYC, and upon the birth of Luis’s second son, the couple decided to leave New York for a simpler life in Jacque’s hometown. Azaceta moved to Uptown New Orleans in 1992 with his wife and children, where he continues to live and work today. He began exploring the city with a camera, feeling that was the best way to fully understand his new home. The parallels between his homeland of Cuba and New Orleans – the food, the music and the architecture – was immediately apparent. But Azaceta was drawn most strongly to the patina of age and disrepair that permeated the distressed neighborhoods beyond the tourist’s gaze. He was fascinated by the shocking juxtapositions of objects – crumbling architecture, litter and construction scrap, abandoned appliances and broken down cars. It was in these places that Azaceta found a visual allegory for the temporal quality of human life within the urban decay. In 1994, Azaceta purchased a large concrete warehouse on Tchoupitoulas Street, which he named “the bunker.” With so much space, Azaceta began working on very large canvases. His palette changed, taking on the somber tones of his new environment, creating works that were less immediately confrontational than the jarring colors of his earlier work, but no less challenging in subject or composition. He began making sculptural constructions filled with the detritus of ruin. The borders between two and three-dimensional work faded away. Photographs were attached to canvases – then boards, nails, steel scrap and found objects. The first decade of Azaceta’s studio practice in New Orleans is defined by a muted palette, an expansion of scale and a visceral and fearless material exploration. In 2005, Azaceta accepted an invitation to be the Lamar Dodd Professional Chair at the University of Georgia in Athens. Shortly thereafter, Hurricane Katrina and the failure of the Federal Levee System devastated New Orleans. Watching the destruction on television – fearing for the safety of his home, studio, family and friends – Azaceta felt deeply the similarities between the trauma of Katrina and the trauma of his exile from Cuba 45 years prior. His wife and youngest son joined him in Athens following the disaster, and he began traveling back to New Orleans regularly – photographing the destruction and collecting debris which he incorporated into new work. The raw energy of his drawings from this time and the unnerving ferocity of his material integrations combined to form one of the most powerful series of his career.
What a Wonderful World 1992 Acrylic on canvas 120 x 120 inches Collection of the artist, Courtesy of ARTHUR Roger Gallery
Tchoupitoulas Shoot-Out 1992 Acrylic and Polaroids on canvas 120 x 120 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Real Fiction 1995 Mixed media on wood and metal 105 x 108 x 4.75 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Man Holding His Country 1993 Acrylic, shellac, pencil on paper 42 x 30 inches Collection of the artist, Courtesy of George Adams Gallery
Ark 1994 Acrylic, charcoal, polaroids and shellac on canvas 110 x 119 inches Private collection
Captive 1 1996 Mixed media construction 21 x 23 x 15 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Captive A 1997 Acrylic, charcoal, and shellac on paper 48 x 42 inches Collection of the artist, Courtesy of George Adams Gallery
New Orleans Pool (Katrina) 2006 Acrylic, pencil on paper 30 x 83.5 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Dirt 2007 Mixed media and photo collage 80 x 4 x 9 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Head Sweeper 2008 Acrylic, ink marker and pencil on paper 42 x 30 inches Collection of the artist, Courtesy of Arthur Roger Gallery
At the Bottom of the Pot 2007 Archival prints on found pots Dimensions vary Private Collection
Monument to the Unknown ALIEN Worker that Helped Rebuild the City of New Orelans after Hurricane Katrina 2011 Acrylic, ink markers, nails on paper, mounted to wood 48 x 21 inches Collection of Sharon Jacques
A CIRCLE A ZERO A DOT A POINT A BEAD ELEMENTS IN MY CURRENT WORK ADD ONE CIRCLE, TWO CIRCLES, THREE CIRCLES TWENTY, A HUNDRED, THOUSANDS TIRED DRINK WATER SIT DOWN WANDERING THE TELEPHONE RINGS MARKETING CALL PUT MUSIC ON THE RADIO CLASSIC MISTER PIANO MAN GLEN GOULD PLAYING THE GOLDBERG VARIATIONS GREAT, MY FAVORITE I’M WALKING ON WATER MORE COLORED CIRCLES ON THE UNDERPAINT OBSESSION MORE CIRCLES ALL DIFFERENT, SMALL, MEDIUM, LARGE ABSTRACTIONS POSITIVE-NEGATIVE BLACK / WHITE PATTERNED STRUCTURES MOVEMENT GEOMETRICAL ORGANIC CELLS MICRO-ORGANISMS NANOBACTERIA VIRUSES BUGS CLUSTERS PRAYER BEADS CARNIVAL BEADS THE KABBALAH MUSIC THE STARS, THE COSMOS, THE BRAIN BEAUTY, MYSTERY ENIGMA LOUD INTERRUPTION TIC … TIC … TIC … RADIO SPECIAL REPORT LOOKING AT THE UNFINISHED CIRCLE HALF A CIRCLE TIC … TIC … TIC … A PLANE CRASHED INTO THE WORLD TRADE CENTER MY MOUTH GETS DRY WHILE I’M LISTENING FINISHED THE INCOMPLETE CIRCLE I SIT ON THE ROCKING CHAIR STARE AT THE PAINTING 9.11 by Luis Cruz Azaceta Tuesday, September 11, 2001
FIFTEEN, SEVENTEEN, TWENTY MINUTES OF BLAH, BLAH, BLAH NEWS SPECULATIONS? ANOTHER PLANE DIVES INTO THE SECOND TOWER INCREDIBLE FICTION / REALITY REALITY / FICTION CAN’T BELIEVE IT SABOTAGE TERRORISM CAN’T WORK NO MORE I’M WORRIED AND PERPLEXED CALLED MY SON IN NEW YORK CALLED MY SISTER IN NEW YORK CALLED MY PARENTS IN NEW YORK THEY’RE OK MY FRIENDS STILL TOO EARLY TO KNOW 9:25 A.M. THE BUILDINGS ARE ON FIRE SMOKE, SMOKE, SMOKE GO TO THE BATHROOM PUT WATER ON MY FACE CALLED MY WIFE SHE IS IN PANIC SHE SEES IT ON T.V. THE TWO BUILDINGS COLLAPSE TERROR NIGHTMARE WHO COULD DO THIS? THE FURIES UNLEASHED MONSTROSITY CHAOS HUNDREDS OF PEOPLE TRAPPED THOUSANDS DEAD CAN’T TAKE IT TURN THE RADIO OFF WHILE TALKING TO MY WIFE BYE, SEE YOU LATER GO FOR A RIDE AUDUBON PARK, THE MISSISSIPPI RIVER THE CLOUDS, THE SKY, THE BIRDS, THE BOATS THE TREES, THE LIGHT FRAGILE LIFE DARK LIFE SADNESS GO BACK TO THE STUDIO LOOK AT THE WORK IN PROGRESS SEE A MYRIAD OF CIRCLES DANCING AND A DARK RING OF HELL IN MY MIND GROUND ZERO
Remembering 9/11 2011 Acrylic, shellac and graphite on canvas 12 x 12 inches each Collection of the artist, Courtesy of Arthur Roger Gallery
Basin: Swimming to Havana 2010 Acrylic and pencil on wood, metal tub 18 x 31.5 x 10.5 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Swimming to Havana 77 2016 Acrylic, ink marker, pencil on paper 30 x 30 inches Collection of Mariana and Emile Cruz
Evacuees 2009 Acrylic on canvas 56 x 56 inches Collection of the artist, Courtesy of Arthur Roger Gallery
THE MOVE TO ABSTRACTION As Azaceta became more identified with New Orleans (its culture, pace of life, spirit of improvisation and sense of place), abstraction slowly became a more dominant force within his practice. There is no identifiable moment where abstraction overtakes figuration in Azaceta’s work, but it is rather a slowly unfolding presence. These mature works possess a mounting freedom from image, yet still incorporate a personal language of pictorial symbols – the bulb, the eye, the body, the directional line, the bullet hole. Children’s toys emerge unexpectedly on painting surfaces and in constructions, creating expanded narratives and further tension through material dialogue. For an artist that has always pushed his work into new territory – resisting mannerist repetition through an intuitive process of discovery through paint – this third act is nothing more than a natural progression. “In abstract work, I find my space for exploring forms, spaces, color, textures and fragmentations,” he explains. “I see no difference between the figurative and the abstract. I use abstraction as a socio-political vehicle, as I have done with figurativeness.” While still addressing critical issues and current events, many of these recent works represent an almost complete transformation into a new language of abstraction. Formally, they are the accomplished result of an artist with a trained and confident hand and the mastery of a unique vocabulary of lines, shapes and color interactions. Overall, the power of this mature work comes as much from its sensory gratification as from the potent messages conveyed. Perhaps the messages, themselves, become stronger through the slow reveal to the viewer – emerging like revelations from the rhythmic pulse of the compositions. Luis Cruz Azaceta embodies fully the idea of “artist as activist.” His art is an unrelenting cry for change, a visual voice for the voiceless. Even in his most elegant recent abstractions, Azaceta continues to pose the difficult questions, challenging the viewer to work for the creation of a better world. Within a studio practice that is in perpetual motion – constantly reinventing itself and shattering preconceptions – Luis Cruz Azaceta has remained true to his humanist message and steadfast in his belief that art can change the world.
Fear 2009 Acrylic, enamel and oil stick on canvas 70 x 70 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Shifting States: Syria 2011 Acrylic, charcoal, oil stick and shellac on canvas 80 x 76 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Hands Up, Don’t Shoot / Tulsa 2016 Acrylic on canvas 48 x 48 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Surge II (Hurricane Sandy) 2012 Ink markers on paper 30 x 42 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Watching You 2012 Acrylic, ink markers, pencil on paper 30 x 42 inches Collectioin of the artist, Courtesy of Arthur Roger Gallery
Gaza 38 2014 Acrylic, ink on paper 39 x 42 inches Collection of the artist, Courtesy of Arthur Roger Gallery
The Wall 2017 Acrylic and charcoal on canvas 96 x 96 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Orlando 2016 Acrylic on canvas 96 x 96 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Aleppo’s Ashes 2017 Mixed media construction 21 x 29 x 9.25 inches Collection of the artist, Courtesy of Arthur Roger Gallery
First Aid 2017-2020 Mixed media construction 59.75 x 23 x 9 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Melting 2018 Toy, wood and acrylic on canvas 67 x 60 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Fire 2020 Mixed media on canvas with toy 56 x 42.4 x 5.5 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Measure of Equality 2019 Acrylic, yarn and wooden frame on canvas 73 x 97 x 5 inches Collection of Ogden Museum of Southern Art. Gift of David B. Workman
I Can’t Breathe 2020 Acrylic on canvas 72 x 96 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Corona 2020 Acrylic on canvas 70.25 x 70.25 inches Collection of the artist, Courtesy of Arthur Roger Gallery
Hope in the Age of COIVD-3-4-5 (triptych) 2021 Acrylic, ink markers on paper 39.5 x 29.75 inches each Collection of the artist, Courtesy of Arthur Roger Gallery
Enmascarado / Desenmascarado 2021 Acrylic, colored pencil on canvas 48 x 96 inches Collection of the artist, Courtesy of Arthur Roger Gallery
LUIS CRUZ AZACETA: WHAT A WONDERFUL WORLD