Agustin Fernandez (1928-2006) is one of the most significant of the exiled Cuban artists in the development of international modernism. Although he has been classified as a surrealist throughout his career, his work draws from a wide realm of visions, inventions, and contortions. While not abstract in approach, Fernandez's work does not represent objective reality. Instead, he depicts unconscious yearnings, obsessions, and fantasies. In 1959, Fernandez moved to Paris, where he would remain for more than 10 years, producing a series of erotic word. While his work of the 50s was more colorful, after a beige period, Fernandez's work of the 60s moved to a more limited palette of black and white. His ambiguous yet provocative paintings combine soft, fleshy human-like forms contrasted with hard metallic surfaces. Using the machine as reference, his work conjures subconscious, often erotic imaginings. In 1968, after moving to Puerto Rico and destroying much of his earlier work, he began to work in collage and continued to explore the armor-line metal facades. He would also create three-dimentional objects, like those of Duchamp or Man Ray. Slowly, color started to reappear, but Fernandez continued to represent the sometimes conflicting, often emotional, human conditions. His works are in the collections of the Museum of Modern Art (New York, NY), Art Museum of the Americas (Washington, D.C.), Brooklyn Museum of Art (Brooklyn, NY), El Museo del Barrio (New York, NY), and many others.