a a Figuer r quez
a Figuer r quez Beyond this Matter
LNS
MARCH - APRIL
Canyon #1 Study 2024
resin and acrylic paint on thermoformed plastic, 10 x 8 inches, 25.4 x 20.32 cm.
Beyond these Pages
by LnS
Tony Vázquez-Figueroa’s artistic practice bridges scientific inquiry and creative innovation, offering a compelling exploration of materiality, transformation, and environmental impact. His process, marked by meticulous experimentation, results in dynamic works that challenge perception and invite meaningful engagement.
In our eighth year working with the artist—after numerous solo and focused exhibitions— it is a pleasure to continue this collaboration and witness his ever-evolving practice. Over the years, we have had the great honor of working alongside various historians, curators, and critics on these projects. On this occasion, we extend our sincere gratitude to David Castañer for his thoughtful essay accompanying this exhibition.
With Beyond This Matter, Vázquez-Figueroa reaches a pivotal moment in his ongoing exploration of oil’s physical and symbolic weight. While his work has always examined oil’s global consequences, his previous series emerged from a personal approach, drawing on his background to convey an expansive message. In Beyond This Matter, his perspective further broadens from inception, expanding a discourse that transcends borders— addressing industry, ecology, and transformation on a global scale.
In this latest series, Vázquez-Figueroa ventures into new chromatic territory, marking a significant evolution. Once restrained in palette, his canvases now unfold in jewel tones, while still retaining the black void at their core—a symbol anchoring his dialogue on oil’s duality as both a resource and a force of destruction. Inspired by satellite imagery of oil spills, these works trace crude oil’s movement across water. As opulent hues break free from their scientific origins, they evoke landscapes altered by catastrophe—a space where abstraction dissolves, allowing destruction and beauty to coexist.
With Beyond This Matter, Vázquez-Figueroa urges us to see beyond oil’s tangible form and consider its far-reaching effects. More than an archive of environmental crises, this body of work invites reflection on our relationship with nature and industry—challenging us to rethink the images that shape our perception of both.
Join us and immerse yourself in the depths of Beyond This Matter.
Wakashio Study 2024
resin and acrylic paint on on thermoformed plastic, 14 x 10 inches, 35.56 x 25.4 cm.
Beyond this Matter | Más allá de esta materia David Castañer
1. The emergence of color
For those of us who know the work of Tony Vázquez-Figueroa, a single glance will be enough to understand that something is changing. Without a doubt, the first thing that stands out in this new series is an obvious emergence of color. Those reds that blend with oranges and turn pink, browns and ochres; the yellows that turn brown, gold, and overlap with greens, turquoises, blues and indigos. Hanging harmoniously on the walls of LnS Gallery, all these chromatic combinations, repeating the same motif, produce a state of attentive observation – or contemplation –that has something to do with the aesthetic vibration of the Squares with Concentric Circles (1913) by Wassily Kandinsky or Mark Rothko’s most famous series.
However, contrary to those of the first masters of abstraction or abstract expressionism, the works of Tony Vázquez-Figueroa do not only play with the chromatic properties of color, but rather create a material color, a color with relief, texture, brightness and depth. In a certain sense, Tony Vázquez-Figueroa exalts the teachings of the kinetic artists, whose understanding of color is linked much more directly to the experience of volume, space and movement. And at the same time, compared to their works, Vázquez-Figueroa’s works produce almost the opposite effect: instead of expansion, they lead to concentration, to calm and reflection instead of speed and displacement.
Since he began his artistic archeology of oil, almost twenty years ago, Tony Vázquez-
1. Irrupción del color
A los que conocemos la obra de Tony Vázquez-Figueroa nos bastará con un solo vistazo para entender que algo está cambiando. Sin duda, lo primero que salta a la vista en estas nuevas series es esta irrupción tan evidente del color. Esos rojos que se tornan rosados, por contigüidad con los naranjas, marrones y ocres; los amarillos que viran al pardo, al dorado, y se superponen a los verdes, turquesas, azules y añiles. Colgadas armónicamente en las paredes de LnS Gallery, todas esas combinatorias cromáticas, que repiten un mismo motivo, producen un estado de observación atenta –o contemplación – que algo tiene que ver con la vibración estética de los Cuadrados y Círculos Concéntricos (1913) de Wassily Kandinsky o las series más célebres de Mark Rothko.
Sin embargo, contrariamente a las de los primeros maestros de la abstracción o del expresionismo abstracto, las obras de Tony Vázquez-Figueroa no juegan únicamente con las propiedades cromáticas del color, sino que fabrican un color matérico, un color con relieve, textura, brillo y profundidad. En cierto sentido, Tony Vázquez-Figueroa enaltece así las enseñanzas de los cinéticos, cuya comprensión del color lo vinculaba mucho más directamente a la experiencia del volumen, del espacio y del movimiento. Y al mismo tiempo, comparadas con las de éstos, las obras de
Wassily Kandinsky, Squares with Concentric Circles, 1913
Figueroa had based his work on an undeniable chromatic coherence, focusing on the use and exploration of a single color: black. From the sculptures in encapsulated oil to the series of photographs, despite the great diversity of mediums and supports, themes and formats, all of Tony Vázquez-Figueroa’s works were in a thousand shades of black. So what is happening to Tony Vázquez-Figueroa now? What is happening so that colors burst into his work so suddenly? What artistic meaning could this break have?
2. Archives’ metamorphosis
In fact, it would be a mistake to consider that everything that Vázquez-Figueroa presents today marks a break with his previous stages. It’s true: there are colors. But at the center of each and every one of these works, there is still a black hole in which we continue to see ourselves reflected. The series that Tony Vázquez-Figueroa presents today is, in a certain way, a joint variation of two of his previous visual objects: the Black Mirror – those black resin surfaces so smooth that they shine and reflect – and the Black Holes – those holes in the canvas that play with the sensation of depth thanks to the use of new pigments called absolute blacks. In all these cases, at the center of the aesthetic experience that the artist proposes, is that deep and shiny black dot that seems to ask us what is the image of ourselves that the oil reflects when, by accident, it comes to the surface.
There is another aspect that connects this new series by Tony Vázquez-Figueroa with what he has been doing for a long time: searching and creating archives
Vázquez-Figueroa producen casi el efecto inverso: llevan a la concentración, en vez de la expansión, al sosiego y la reflexión en vez de la velocidad y el desplazamiento.
Desde que empezó su arqueología artística del petróleo, hace casi veinte años, Tony Vázquez-Figueroa había basado su obra en una coherencia cromática innegable, basada en la utilización y la exploración de un único color: el negro. Desde las esculturas en petróleo encapsulado hasta las series de fotografías, a pesar de la gran diversidad de médiums y soportes, de temas y formatos, todas las obras de Tony Vázquez-Figueroa eran en mil matices de negro. Entonces, ¿qué le está pasando ahora a Tony Vázquez-Figueroa? ¿Qué le está pasando para que irrumpan tan repentinamente los colores en su obra? ¿Qué significado artístico puede tener esa ruptura?
2. Metamorfosis del archivo
De hecho, sería un error considerar que todo lo que Vázquez-Figueroa presenta hoy marca una ruptura con sus etapas anteriores. Es cierto: hay colores. Pero en el centro de todas y cada una de estas obras, sigue habiendo un agujero negro en el fondo del cual seguimos viéndonos reflejados. Las series que Tony VázquezFigueroa presenta hoy no dejan de ser, en cierto modo, variaciones conjuntas de dos de sus objetos visuales previos: los Black Mirror – esas superficies de resina negra tan lisa que brilla y refleja – y los Black Holes – esos agujeros en la tela que juegan con la sensación de profundidad gracias a la utilización de nuevos pigmentos llamados negros absolutos. En todos esos casos, en el centro de la experiencia estética que propone el artista, está ese punto negro profundo y brillante que parece preguntarnos cuál es la imagen de nosotros mismos que refleja el petróleo cuando, por accidente, sale a la superficie.
Hay otro aspecto que conecta estas nuevas series de Tony Vázquez-Figueroa con lo que
Tony Vázquez Figueroa Black Mirror Painting
Tony Vázquez Figueroa Black Archives
on the history of oil. In Archive Fever or Black Archive, his series on advertising and photos from the years of the Venezuelan oil boom, Vázquez-Figueroa connected his aesthetic search with historical and philosophical research on oil societies, interrogating the imaginaries and foundations of the utopia of scientific-technical progress. Here, however, his archive is that of natural catastrophes: each work is a reference and a tribute to oil spills and spills caused by the shipwrecks of oil tankers.
In fact, sometimes the titles are the names of places where such catastrophes linked to oil extraction occurred – such as “Delta”, which refers to the Niger River delta, where bloody conflicts have raged for decades over control of the territory and the exploitation of crude oil, and where more than 13 million barrels have been spilled. In other cases, the titles are the names of the ships that sank, spilling unfathomable quantities of waste into the ocean and coastlines leaving deleterious scars on the environment – the Amoco Cádiz, which sank in 1978 off the coast of Brittany, the Exxon Valdez, whose shipwreck in 1989 contaminated the shores of Alaska, the ABT Summer, which released 260,000 tons of crude oil among the coasts of Angola in 1991, the Hebei, which sank near the southern coasts of Korea in 2007 or the Wakashio, which blackened those of Mauritania in 2020.
Each of these works by Tony Vázquez-Figueroa is inspired by the models obtained from satellite images of the way in which crude oil spreads floating over the sea’s surface until it reaches dry land. What is interesting is that at first, its color palette explicitly refers to the legends of these scientific imagery.
3. Towards the horizon
But as the series progresses, the colors used by Tony Vázquez-Figueroa are no longer just those from the satellite modeling and flashes of juicy green, sandy white and summer indigo start
viene haciendo desde hace tiempo: buscar y elaborar archivos sobre la historia del petróleo. En Archive Fever o Black Archive, sus series sobre la publicidad y las fotos de los años del boom del petróleo venezolano, Vázquez-Figueroa conectaba su búsqueda plástica con la investigación histórica y filosófica sobre las sociedades del petróleo, interrogando los imaginarios y los cimientos de la utopía del progreso científico-técnico. Aquí, en cambio, su archivo es el de las catástrofes naturales: cada obra es una referencia y un homenaje a las mareas negras y los derrames provocados por los naufragios de barcos petroleros. De hecho, a veces los títulos son los nombres de lugares donde se produjeron dichas catástrofes vinculadas a la extracción de petróleo – como “Delta”, que refiere al delta del río Niger, donde durante décadas se han desatado conflictos cruentos por el control del territorio y de la explotación del crudo, y donde se han vertido más de 13 millones de barriles. En otros casos, los títulos son los nombres de los barcos que se hundieron derramando por el océano y las costas toneladas de chapapote que tan nocivo es para el medioambiente – el Amoco Cádiz, que se hundió en 1978 frente a las costas de Bretaña, el Exxon Valdez, cuyo naufragio en 1989 contaminó para siempre las orillas de Alaska, el ABT Summer, que soltó 260000 toneladas de crudo delante de las costas de Angola en 1991, el Hebei, que se hundió cerca de las costas meridionales de Corea en 2007 o el Wakashio, que ennegreció las de Mauritania en 2020.
Cada una de estas obras de Tony VázquezFigueroa está inspirada en las modelizaciones que se obtienen a partir de las imágenes satelitales de la forma en que el crudo se propaga flotando sobre la superficie marina hasta alcanzar tierra firme. Lo que es interesante es que en un primer momento, su paleta de colores hace referencia explícitamente a las leyendas de estas imaginerías científicas.
satellite imagery of Mauritius Wakashio
to shine. It’s as if, little by little, the colors that scientists use arbitrarily to designate variations in temperature, depth, viscosity or density, regained their ability to refer to realities or memories –their capacity for mimesis. It’s as if, little by little, beyond the images of the spill, memories of those natural environments began to creep in – a tropical coast, a coral reef, fine sand beaches – the same environments on which the tons of oil were spilled, permanently damaging them, but without altering their beauty.
Or perhaps altering it, but not enough to make it disappear. Just enough to make it disturbing. In our last talk, Tony told me that this is one of the things that has disturbed him the most during this creative process: the fact of being able to perceive beauty in moments that are catastrophic for human beings and the natural environment. And that is valid, in a certain way, for the whole of his work: hasn’t Vázquez-Figueroa spent twenty years creating beauty from a pestilential and viscous matter whose combustion is responsible for a good part of the greenhouse gases that warm our atmosphere? Does this imply a conception of aesthetic feeling that leans more towards the sublime, as defined by Edmond Burke, than towards the beautiful? Could it not be considered that the creation of works of art based on catastrophic events for humanity is part of a Hegelian dialectic by which the denial of the negative leads to its overcoming? Or, on the contrary, would this somewhat masochistic aesthetic pleasure have to do with what Jacques Lacan calls jouissance and the objet a, that structure of desire that always makes it insatiable and, to a certain extent, painful?
It seems to me that Tony Vázquez-Figueroa is
3. Hacia el horizonte
Pero a medida que va avanzando la serie, los colores empleados por Tony VázquezFigueroa dejan de ser únicamente los de las modelizaciones satelitales y se permiten destellos de verde jugoso, de blanco arena y añil veraniego. Como si, poco a poco, ese color que los científicos usan arbitrariamente para indicar las variaciones de temperatura, profundidad, viscosidad o densidad, recobrara su capacidad de referirse a realidades o recuerdos – su capacidad de mímesis. Como si, poco a poco, más allá de las imágenes del derrame, empezaran a colarse recuerdos de esos entornos naturales – una costa tropical, un arrecife de coral, playas de arena fina – en los cuales se derramaron las toneladas de petróleo, dañándolos definitivamente, pero sin alterar por ello su belleza.
O tal vez alterándola, pero no suficientemente como para hacerla desaparecer. Tan solo tornándola inquietante. En nuestra última charla, Tony me contaba que eso es una de las cosas que más lo han perturbado durante este proceso creativo: el hecho de ser capaz de percibir belleza en momentos que son catastróficos para el ser humano y el entorno natural. Y eso es válido, de cierta forma, para el conjunto de su obra: ¿acaso no lleva VázquezFigueroa veinte años creando belleza a partir de una materia pestilente y viscosa cuya combustión es responsable de buena parte de los gases con efecto invernadero que calientan nuestra atmósfera? ¿Implica eso una concepción del sentimiento estético que tira más hacia lo sublime, tal y como lo define Edmond Burke, que hacia lo bello? ¿No se podría considerar que la creación de obras de arte a partir de acontecimientos catastróficos para la humanidad forma parte de una dialéctica hegeliana por la cual la negación de lo negativo desemboca en su superación? O, al contrario, ¿acaso este placer estético algo masoquista tendría que ver con lo que Jacques Lacan nombra la jouissance y el objeto a, esa estructuración del deseo que siempre lo hace insaciable y, en cierta medida doloroso?
A mí me parece que Tony Vázquez-Figueroa
satellite imagery of Deepwater Horizon
answering these questions with the progression of his painting because each of these works seems to consolidate the will to go beyond the modeling of the disaster. This is very evident in Horizon, which bears that title after the BP Deepwater platform that exploded in the Gulf of Mexico in 2010. But due to its formal and chromatic treatment, Horizon becomes an image that condenses, behind the concentric spot of the spill, elements of a sunset, as if it were a nod, from the other side of abstraction, to the landscapes of the origins of impressionism.
While the other works in the series are in portrait format and form a swooping point of view, typical of satellite images, Horizon is a landscape from a frontal point of view, which evokes the convergence of vanishing lines and the horizon, intergral to depth perception. Starting from satellite omniscience, the series therefore advances towards the situated perception of the human eye. And that also implies a transformation in the type of agency that is suggested. By overcoming the relative helplessness caused by exhaustive and distant narratives, Tony Vázquez-Figueroa opens the possibility of fully feeling and defending the beauty of the world around us.
está contestando a esas preguntas con la progresión de su pintura porque cada una de estas obras parece ir consolidando la voluntad de ir mas allá de la modelización del desastre. Esto es muy evidente en Horizon, que lleva ese título por la plataforma Deepwater de BP que explotó en el golfo de México en 2010. Pero por su tratamiento plástico y cromático, Horizon se convierte en una imagen que condensa, detrás de la mancha concéntrica del derrame, elementos de una puesta de sol, como si se tratara de un guiño, desde el otro lado de la abstracción, a los paisajes de los orígenes del impresionismo.
Mientras que las demás obras de la serie están en formato retrato y conforman un punto de vista en picado, típico de las imágenes satelitales, Horizon es un paisaje en punto de vista frontal, que evoca el conjunto de líneas de fuga y horizonte propias de la percepción de la profundidad. Partiendo de la omnisciencia satelital, la serie va avanzando pues hacia la percepción situada del ojo humano. Y eso implica también una transformación en el tipo de agentividad que se sugiere. Al superar la relativa impotencia que provocan los relatos exhaustivos y distantes, Tony Vázquez-Figueroa abre la posibilidad de sentir y defender plenamente la belleza del mundo que nos rodea.
David Castañer holds a master degree in Philosophy from l’École Normale Supérieure and a Ph.D. in Humanities from Sorbonne Université. Since 2019, he has been associate professor at the Paris Panthéon-Sorbonne University, where he teaches and researches about the history of modern and contemporary art in Latin America. In parallel to his academic activities, he is a literature and art critic for magazines and galleries and develops curatorial projects for organizations such as UNESCO and the Dakar Biennial, for which he was the invited curator in 2022. Since 2024, he co-directs the international project PETROLEUM, Oil in (and out of) Visual Arts.
David Castañer se graduó en filosofía en l’École Normale Supérieure y obtuvo un doctorado en Humanidades en Sorbonne Université. Desde 2019, es catedrático de la Universidad Paris Panthéon-Sorbonne, donde imparte clases e investiga sobre la historia del arte moderno y contemporáneo de América Latina. En paralelo a sus actividades universitarias, es crítico de literatura y arte para revistas y galerías y desarrolla proyectos curatoriales para organizaciones como la Unesco y la Bienal de Dakar, de la que fue curador invitado en 2022. Codirige, desde 2024, el proyecto internacional PETROLEUM, Oil in (and out of) Visual Arts.
Horizon Sketch 2024 resin and acrylic paint on canvas, 11 x 8 inches, 27.9 x 20.32 cm.
Ondoing/ Control 2023
resin, color pencil, and acrylic paint on canvas, 70 x 54 inches, 177.8 x 137.16 cm.
Delta #2 Study 2024
resin, color pencil and acrylic paint on canvas, 40 x 30 inches, 101.6 x 76.2 cm.
Delta #3 2024 resin and acrylic paint on canvas, 84 x 64 inches, 213.36 x 162.56 cm.
Ixtoc I 2025 resin, acrylic paint, and color pencil on canvas, 48 x 44 inches, 121.92 x 111.76 cm.
W/hole – Collision 2025 resin and acrylic paint on canvas, 90 x 78 inches, 228.6 x 198.12 cm.
Horizon #1 2025 resin and acrylic paint on canvas, 78 x 96 inches, 198.12 x 243.84 cm.
Wakashio 2024 resin and acrylic paint on canvas, 84 x 66 inches, 213.36 x 162.56 cm.
W/hole - Empress 2024 resin and acrylic paint on canvas, 32 x 30 inches, 81.28 x 76.2 cm.
W/hole Study #2 2025 resin and acrylic paint on canvas, 10 x 10 inches, 25.4 x 25.4 cm.
Kenai 2025
resin oil pastel and acrylic paint on canvas, 30 x 32 inches, 76.2 x 81.28 cm.
Kenai 2025 resin and acrylic paint on canvas, 60 x 48 inches, 152.4 x 121.92 cm.
Tony Vázquez-Figueroa
(b. 1970, Caracas, Venezuela) resides and works between Mexico City, Mexico, and Miami, Florida. He earned a BFA in Film from Emerson College (Boston, MA) before furthering his studies in Fine Art at the San Alejandro Academy (Havana, Cuba). Vázquez-Figueroa was awarded a scholarship to the renowned New York Studio School in NYC, where he continued his formal art training. During his time at this prestigious institution, he was selected for a highly competitive exchange program at one of the UK’s leading art schools—the Slade School of Fine Art, University College London where he trained under Contemporary master painter Jenny Saville. His work has been featured in numerous solo and group exhibitions and is included in major public and private collections, including the Pérez Art Museum Miami (PAMM), the Museum of Latin American Art (MOLAA) in California, the UNIS Museum in Guatemala, and the Black Gold Museum in Saudi Arabia, among others.
EDUCATION
• New York Studio School / New York Academy of Art, NY / Slade School of Painting at UCL, London
• Academia de Arte San Alejandro, Cuba
• BFA Film, Emerson College, Boston
PUBLIC COLLECTIONS
• Black Gold Museum, Riyadh, Saudi Arabia
• Lowe Art Museum, University of Miami, Miami, FL
• Perez Art Museum Miami, Miami, FL
• Museum of Latin American Art, Long Beach, CA
• Villanueva Collection, Venezuela
• Capriles Collection, Venezuela
• Maldonado Collection, Miami, FL
• Foundation Rozas-Botrán,
• Guatemala City, Guatemala
SELECTED AWARDS AND RECOGNITIONS
2019
The Ellies: Creator Award, Oolite Arts, Miami Beach, FL
2017
Honorable Mention, Works on Paper, Long Beach Island Foundation for the Arts and Sciences, Long Beach, NJ
2015
Latin American Award, Rozas-Botrán Foundation, AG Gallery, Northern Trust Bank, Miami, FL
2014
63rd Annual All Florida Juried Exhibition (1st Prize), Boca Raton Museum, FL
1998
Scholarship, New York Studio School, New York, NY
SOLO EXHIBITIONS
2022
Petropias, Curated by Tami Katz-Freiman, LnS Gallery, Miami, FL 2020
Petropias: Focus Installation, LnS Gallery, Miami FL
Spectacular Modernity, Zona Maco, Mexico City, Mexico 2018
Drawing from the Underdeveloped / Line One, LnS Gallery, Miami, FL
Black SurfaceThe Undoing Process, LnS Gallery, Miami, FL 2017
Crude Inventory, Galería Rozas-Botran Zona 14, Guatemala City, Guatemala 2016
Within the Gaze, Artmedia Gallery, Miami, FL 2011
Closepop, D’griss Art Gallery, Panama City, Panama 2008
Cata^logos, Galería Artepuy, Caracas, Venezuela 2005
Ad/iconic, Galería MAD, Caracas, Venezuela 2004
Venezuela Turmoil, South Florida Art Center, Miami, FL Notations, Espacio D’stefano, Caracas, Venezuela 2003
Retro/Prospective, Centro Cultural Capuy, Caracas, Venezuela
SELECTED GROUP EXHIBITIONS
2021
Artful Books 2021, Daytona Museum of Arts & Sciences, Daytona Beach, FL Where There Is Power, Oolite Arts, Miami Beach, FL 2019
The Artful Book 2019, LnS Gallery, Miami, FL Referencias y diálogos, Beatriz Gil Galería, Caracas, Venezuela
2017
Oolite, LnS Gallery, Miami, FL
The Collective Debut, LnS Gallery, Miami, FL Crudo/Archivo, Foundation Rozas-Botrán, Guatemala City, Guatemala Routes of Influence, Perez Art Museum Miami, Miami, FL
2016
Inventory/Takes, The Clemente Soto Velez Cultural Center, New York, NY
2016
Arte en Mayo, Museo de Arte Moderno de Guatemala, Guatemala City, Guatemala
Works on Paper, Long Island Beach Foundation, Long Beach, NJ 2015
Rozas-Botrán Foundation, AG Gallery, Northern Trust Bank, Miami, FL
Works on Paper, Long Island Beach Foundation, Long Beach, NJ
Color of Latin, Gyeongnam Art Museum, Seoul, Korea
2014
63rd Annual All Florida Juried Exhibition, Boca Raton Museum, Boca Raton, FL
Venezuela/Ukraine: Unexpected Conversation
Black Square Gallery, Miami, FL
Urbanism, Coral Gables Museum, Miami, FL
Paper Work Project, Black Square Gallery, Miami, FL
2013
Summer Reading, Black Square Gallery, Miami, FL
Dessine-moi, Galerie 208, Paris, France
2012
Acquired, The Bakehouse Art Complex, Miami, FL
Tridimensionnel, Galerie 208, Paris, France
2011
Utilitaria, Galería MAD, Caracas, Venezuela
Sauvages, JG Platform Gallery, Miami, FL
2010
65, Salón Michelena, Valencia, Venezuela
Identidades, Galería MAD, Caracas, Venezuela
Collect Collage, Galería Estudio Arte 8, Caracas, Venezuela
Brasil Reimaginado, Brasilian Consulate, Caracas, Venezuela
Retomando el Rojo, Galería MAD, Studio 64, Caracas, Venezuela
Eclectic, Galería G7, Caracas, Venezuela
2009
La V Bienal de Maracaibo, Maracaibo, Venezuela
Pixeles, Gabriela Benaim Gallery, Caracas, Venezuela
Bridge to the Americas, Museum of Latin American Art, Long Beach, CA
2007
Individualidades, Galería Artepuy (Beatriz Gil Gallery), Caracas, Venezuela
1998
Salón Servando Cabrera, Havana, Cuba
Tony Vázquez-Figueroa | Beyond this Matter
note & catalog design | Luisa Lignarolo
essay | David Castañer
artwork photography | Tony Vázquez-Figueroa
editorial consultant | Sofia Guerra
exhibition dates | March - April 2025
artwork installation | Norlam De Leon & Jorge Dasiel isbn | 979-8-9918219-2-6
publication copyright 2025 | LnS GALLERY
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