After studying Industrial Design in Havana in the early 1990s, Diango Hernández became one of the founders of Ordo Amoris Cabinet, a Cuban artists’ and designers’ collective. This group’s particular focus was the ‘provisional aesthetic’ of making do and getting by adopted by ordinary people during Cuba’s years of acute economic crisis caused by the collapse of the Soviet Union. A decade later, Hernández left Cuba and moved to Europe. Since then, all of Hernández’s work – paintings, drawings, collages, installations and sculpture – has constituted an investigation into the ‘realities hidden beyond realities’ of revolutionary Cuba and its failed Utopia.