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Born to a Chinese father and Congolese-Spanish mother, Wifredo Lam (1902–1982) created radically unassimilable paintings that synthesized European Surrealist and Cubist strategies with the Afro-Cuban rituals of his upbringing. As most exhibitions and studies of Lam’s works focus on his output in the 1940s—the period of his return to Cuba at the outbreak of the World War II—the exhibition
