Ana Flores (Havana, Cuba, 1956) shows us two figurines, frozen in mid-dance, but their kinetic energy comes from a rotating turntable. Revolving, they keep time to the lushly romantic score. In the background, blurred shadows are created by the projection of low misty lighting, making the figurines appear monumental and imbued with fluid movement. Flores allows the viewer to witness her moment of theater, revealing the device that seems to bring her figures to life, thereby creating an unexpected poignancy. Although whimsical, the figures suggest that the splendor of romance may demand a certain deception. Flores fled the island of Cuba with her family as a girl, only returning to it in 2002, after a more than 40-year absence. Works like Havana Dancers emphasize her creation of distinct sense of place. Her return to Cuba resulted in her redefined sense of identity and vision. She frequently looks at Cuba’s historical tumult by utilizing recycled toys, puppets and furniture, as a tribute to the creativity and resourcefulness that is displayed by the people on the island.