Any political regime, Cuba included, will be defined differently by those who flee it and those who decide to stay. KCHO's work is doomed to the same misunderstanding, with those who left accusing him of passively accepting Castro's repression. But instead of reacting blindly to political circumstance, KCHO moves toward a better understanding of how the concept of freedom is interpreted by different generations and different nations. His sculptures are an ideal extension of Cuba to the outside, and yet they never sever a ring of the chain that binds him to profound cultural roots. For this artist, leaving means confronting a difficult return to his source of ideas every time.