La antigua cristalería “El Espejo”—the old glass factory called “The Mirror”—sits on a small side street not far from the Plaza de la Revolución.

Known as Estudio 50, it’s now an art and design workshop. And for the Havana Biennial, it’s the setting for “Illness Has a Colour,” a wide-ranging show of contemporary Cuban art that opened this week.

The exterior of the old glass factory now known as Estudio 50.. Photo Cuban Art News

«Illness Has a Color» includes work by established and younger artists. The show was curated by Lida Sigas, Daleysi Moya, and Aurora Carmenate, all on staff at El Apartamento, and was organized and produced by Christian Grundín with Luis Mario Gell, who brought the project to Estudio 50.

View of the exhibition “Illness Has a Colour” at Estudio 50. Photo Cuban Art News

Among the first works on view at the entry is Alexandre Arrechea’s “El rostro de la nación,” in which he continues his exploration of black-and-white forms and their relation to Cuban identity.

Alexandre Arrechea, “El rostro de la nación,” 2019. Photo Cuban Art News

The crowds streamed through the space, which still bore many signs of its industrial past.

View of the exhibition “Illness Has a Colour” at Estudio 50. Photo Cuban Art News

Hanging near Arrechea’s work on the entrance wall, an untitled series by Marlon Portales depicted Fidel Castro at different stages in his life, in a style that made it seem as if the images themselves were dissolving.

Marlon Portales, “Sin titulo,” 2019. Photo Cuban Art News

Works on view included Espejismo, a maplike form in concrete by Ariamna Contino and Alex Hernández.

Ariamna Contino and Alex Hernandez, “Espejismo,” 2017. Photo Cuban Art News

Dagoberto Rodríguez, formerly of Los Carpinteros, presented an oversized, three-part watercolor drawing.

Dagoberto Rodriguez, “Bunker de Celosía,” 2019. Photo Cuban Art News

Some artists were inspired by the building’s previous incarnation as a glass factory. Adrianna Arronte’s Fundamentos de la transparencia appeared to be assembled from materials found on the site.

Adrianna Arronte, “Fundamentos de la transparencia,” 2019. Photo Cuban Art News

Other works, while not specifically industrial, fit well in the factory setting, including Arles del Rio’s installation.

Arles del Rio, “Sin titulo,” from the series “El contexto indica”. Photo Cuban Art News

Others used color and light to eye-catching effect, especially for photos.

Raúl Cordero, “Untitled (YOLO, $560 USD, 11 horas),” 2019. Photo Cuban Art News

Reynier Leyva Novo’s Diario perdido consisted of what seemed like a haphazard collection of chairs, randomly placed throughout the space. But each one had a small mirror under it, which, if a visitor crouched to see it, had a message to reveal.

One of the works in Reynier Leyva Novo, “Diario perdido,” 2019. Photo Cuban Art News

A small mezzanine offered a more intimate spot for small-scale works—including this wall work located at the top of the stairs.

Julio Llópiz-Casal, “Julián del Casal trae algo entre sus dedos” (Julián del Casal carries something between his fingers), 2019. Photo Cuban Art News

A piece by the duo jorge y larry combined industrial concrete with delicate ceramics, creating a drama enacted by porcelain figurines.

jorge y larry, “Escena 2,” 2019. Photo Cuban Art News

Known for works that re-read and deconstruct history, José Manuel Mesias’s kinetic sculpture, Instrumento para desmontar una imágen del siglo xix (Instrument to dismantle a 19th-century image), 2016-18, explored this theme from a different angle.