A Tuesday afternoon between meetings at the Frost Art Museum at FIU, where Modern Cuban Painters from Havana to New York: Revisited returns the landmark 1944 MoMA exhibition to American walls eighty-two years later.

Rabbi Mario Rojzman and I discussed how the Torah functions not as a container of all stories, but as a master lens through which we can read every human encounter, across all cultures.

How paella became, against his will, the symbol of a Spain that, after 1898, learned to show itself through the image. From Valencia to the Hispanic Society, a visual operation that Sorolla would fix in his panels.

A stained glass window is a work of art — a dialogue between form, light, and color. Its fragility is comparable to human life, and yet like human beings it is capable of withstanding the assaults of time and oblivion. To preserve this heritage is to recognize where we come from and what road has brought us here.

A visit to Valencia’s Mercado Central reveals how traditional market exchanges are being reshaped by tourism and photography. As fish become objects of display and images, the space shifts from commerce to spectacle, raising questions about what is gained and lost in the process.