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Ana Albertina Delgado became known in Cuba in the mid-1980s as a member of art collective Grupo Puré (together with Adriano Buergo, Ermy Taño, and Lázaro Saveedra). Later, her work grew closer to that of other female artists like Marta María Pérez, Consuelo Castañeda and María Magdalena Campos, who began tackling women’s issues from a perspective previously unseen in the isolated island’s context. These artists started pushing aside the usual sugary images of domesticity and idealized maternity to reveal visions of a starker, more shocking nature: a more explicit sexuality, and a questioning of women’s place in society.
From the beginning, Delgado leaned toward an intimate, poetic style, a reverie world of metaphors highlighting her most essential concerns, dreams, and frustrations. Her works abound in references to her inner world from an autobiographical, self-referential standpoint.