The essay by Ricardo Pau-Llosa on the work of Cuban-born artist, Humberto Calzada, is divided into three sections. In the first one, “The Symbolism of Order,” Pau-Llosa addresses Calzada’s move from painting elements of colonial Cuban architecture to more complex modes of depicting architectural space. He discusses Calzada’s work in the context of the development of Cuban and Latin American art since the mid-1920s, mentioning Calzada’s artistic influences, artists such as Amelia Peláez, Mario Carreño, and Emilio Sánchez. Pau-Llosa additionally acknowledges elements that recur in Calzada’s work, such as openness toward simultaneity, painting as a form of theater, and representing the infinite. He connects these to the fact that Calzada is Latin American and an artist in exile. In the second section, “Dwelling,” Pau-Llosa focuses on the presence of stairs and other parts of buildings in Calzada’s work. He states that the artist began to include them in 1982 after he broke from producing nostalgic and anecdotal work. In this section Pau-Llosa also includes an exploration of the series A World Within (1984–89). In the last section, “The Broken Garden,” Pau-Llosa examines Calzada’s series known as The Garden, Still-Lifes, and Water Paintings, as well as the new existential sentiment present in his work, which he connects to the condition of being an exile.