with an essay by Donald Kuspit in which he provides reflections about Fernández’s work on paper – which to date only a few scholars have focused on exclusively – perhaps because, as Kuspit points out, Fernández’s drawings appear “deceptively simple,” but in reality present “a veritable cornucopia of creative possibilities.” Through his careful exploration of a selection of iconic drawings by Fernández, Kuspit helps uncover some of these possibilities, opening new directions for grappling with the work of an artist who has been called highly enigmatic.

with an essay by Elizabeth Thompson Goizueta in which she ponders the influence of the baroque on Fernández’s art and supports the development of her ideas by drawing on excerpts from the artist’s unpublished memoirs written in the late 1980s.

Goizueta is the first scholar to delve deeply into Fernández’s writings and, in so doing, provides him with a compelling and nuanced posthumous voice.

This catalogue also includes a text by Héctor Feliciano, in which he shares an intimate portrait of Fernández based on Feliciano’s recollection of time spent with the artist and his family in their home on lower Fifth Avenue in New York City.