In dissecting a sinewy bicep or the angle of a bat against the sky from newspaper cutouts, Quisqueya Henriquez creates collaged figures bordering on the mythical, surreal, and grotesque. Her works display hyperbolic elements of masculinity, power, and dexterity; the object referent is replaced by a satire of the velocity of cultural stereotypes, namely fetishized abilities of Latin Americans. The individual identities of Henriquez’s characters are as distorted as the misperceptions germinated by spectators. Prompted by her Cuban- Dominican heritage, Henriquez stages an intervention of transnational honesty in aesthetics that would make George Grosz blush.

The artist further embeds her collage works in European Art History and contrasting the lack of infrastructure of many nations outside of the European context. Henriquez is above all a practitioner who asks her audience not only to recognize beautiful art and ugly stereotypes, but engage in creating intertextuality between brown and white, reality and propaganda, formal and informal.

After graduating from the prestigious Instituto Superior de Arte in Havana in 1992, Henriquez has exhibited throughout Latin America, Europe, and the United States. Her work is in important private and public collections including El Museo del Barrio, New York; Museum of Contemporary Art, North Miami, FL; Miami Art Museum; Cintas Foundation, NY; Rhode Island School of Design; and Coleccion Patricia Phelps de Cisneros, NY, among many others. The September 2007 issue of ARTnews named Henriquez one of 25 art world trendsetters. Before traveling to the Miami Art Museum, Henriquez’s mid-career retrospective at the Bronx Museum of the Arts garnered a review in the New York Times.