Luis Manuel Otero's Untouchable San Lázaro Sculpture in Havana

Cuban philosopher and art critic Magaly Espinosa Delgado recalled in an interview with CiberCuba the unexpected visit from Luis Manuel Otero Alcántara to her third-floor apartment in Havana. She remembers him telling her, "The man is downstairs."

When she looked out from her balcony, Espinosa was left speechless at the sight of the San Lázaro sculpture, a massive artwork crafted from discarded materials.

This story emerged during an interview with journalist Tania Costa, where Espinosa shared insights into her friendship with Otero Alcántara, an artist and activist who is currently recognized as a prisoner of conscience by Amnesty International. He is serving his sentence in Guanajay's high-security prison in Artemisa.

The Remarkable San Lázaro Sculpture

"The San Lázaro is extraordinary. It's one of the most remarkable sculptures in recent Cuban art, made from waste," Espinosa asserts confidently.

What struck the philosopher most was not just the piece itself, but a particular detail that elevated it beyond mere art. The sculpture included money, and despite being left unattended at the base of the building, no one dared to touch it.

When Espinosa asked Luis Manuel if he was worried about theft, he replied decisively, "No, professor, nobody touches that."

Espinosa reacted immediately, "You've given me a lesson in religion."

The Cultural Reverence for San Lázaro

Espinosa shared more anecdotes, recalling seeing Luis Manuel walking through Central Havana with his San Lázaro. Despite being adorned with money, no one dared to take any.

This respect stems from the deep Cuban devotion to San Lázaro, syncretized with Babalú Ayé in Santería. Taking money from the figure was akin to stealing a religious offering, a cultural taboo beyond the reach of any legal code.

For Espinosa, this power is not merely anecdotal but theoretical. "It's an artwork, but it's a work with different codes and values, not those of autotelic high culture, but those integrated into social action art, relational art," she explains.

The Legacy of Social Insertion Art in Cuba

She places Otero Alcántara's work within a tradition that Cuba's Instituto Superior de Arte (ISA) helped to define before the concept gained international recognition. "Before the category of relational aesthetics existed, in Cuba, we invented social insertion art."

Espinosa notes that artists like René Francisco were already practicing this relational art "without knowing it. Without realizing it was an art that mobilized the social fabric, turning it into something active."

These elements, she believes, remain vibrant in Cuba. "I trust young artists will continue this legacy on the Island," she adds.

Otero Alcántara was arrested on July 11, 2021, during the 11J protests in Cuba and sentenced in June 2022 to five years in prison for contempt of national symbols, disrespect, and public disorder. In March 2026, Cubalex filed for his immediate release, which the Supreme Court denied the following April.

Espinosa is contemplating writing a piece about Luis Manuel that includes this anecdote. She concludes her reflection with a certainty: "These codes have evolved from popular culture. And these elements remain vibrant in Cuba."