Transcript

It���s very difficult to characterize or to describe my father to somebody who doesn���t know. It���s interesting to see this paradox: He���s well known and yet he���s not known. Art history needs to have those boxes where you put people in. He got put in as a Latin American artist, a Cuban artist, and I think that���s one of the reasons that he was a little bit in nowhere compared to the actual work. This seems like such an important moment to look at his work again. His issues and the things that he cared about are still important today. He believes in the power of art to make change. This kind of empathy that you feel in Lam���s practice throughout his life, it���s really like serving the cause of the people. How do you tell that experience: the experience of exile, of diaspora? How do you create something that's profoundly transnational?