This is an outstanding example of Bedia's recent works on canvas. Perhaps one of his finest paintings. Bedia is now being very well managed, and has an exclusive arrangement with Fredric Snitzer Gallery, who is doing a great job promoting his work, and getting him into very important art fairs and museums. It is likely the value of his work is only going to appreciate, at this stage of this great Cuban Master's career.

Few Cuban artists have developed a body of work as coherent and original as that of José Bedia. Although he is one of the most outstanding examples in the history of art in Cuba and Latin America, and he has also received international acknowledgement, his true importance has not yet been fully recognized. In his paintings, drawings and installations, José Bedia has not only used a hive of cultural references from Cuba, but also from Latin America, the Caribbean and Africa, focusing on those that western civilization, with its technological vanity and false idea of progress, has considered underdeveloped, backward or pre-modern. According to Bedia, his work is an attempt to rescue, through the discursive strategies of contemporary art, the dispersed fragments of that old wisdom which, to a greater or lesser extent, all those societies have in common, and which are of great importance to complete the deficits of our unbalanced contemporaneity. Bedia's creative method, seemingly spontaneous, intuitive and at times naive, is not only the product of previous rigorous study, but of the assimilation of formal, material, aesthetic, symbolic and historical elements from those cultures that have inspired him and that he reflects either in a simple drawing or painting or in one of his monumental installations.

The often simple and schematic appearance of his works and the generally austere and synthetic character of his discourse follows the principle of doing more with less, concealing a conceptual and philosophical depth and an abundance of uncommon information, the result not so much of bookish study as of his contact and direct identification with the systems of knowledge of those cultural groups that some call native, aboriginal or traditional.

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