Juan Goytisolo, one of Spain’s most combative novelists, has on many occasions addressed his country’s contemptuous attitude toward Muslim culture. Yet the proximity of the Spanish and Moroccan coasts, and what’s more, a shared history, have left a strong mark on our architecture as well as our language. Astonishingly, the contributions of the Maghreb are still mostly ignored, but one exception is in the work of Rogelio López Cuenca. His exhibition “El paraíso es de los extraños” (Paradise belongs to outsiders; all works 2001)—the outsiders here being- Muslim immigrants—emerges from the artist’s