Though sculpture is new to Cuban artist Carlos Alfonzo, the constructed steel pieces he exhibited along with his more familiar paintings not only employ the same cubist vocabulary he has been exploring for the better part of a decade; they exhibit a similar emotional intensity.

Clement Greenberg identified Cubism with “the empiricists’ faith in the supreme reality of concrete experience.” Though Alfonzo does not reject the importance of “concrete experience,” titles such as Fear, Hope, and Cry (all works 1989), suggest that emotional states including love, anxiety, and terror, are an integral