Antonia Eiriz experimented with new figuration and expressionism to produce, beginning in the 1960s, an iconoclastic work distanced from the apologetic discourse imposed on the epoch’s art. In the following decade, the artist ventured into papier-mâché, teaching her methods through the community project she coordinated in her native Juanelo neighborhood. Recent investigations indicate that the works presented, executed in this technique, were made by Eiriz in 1986 for the premiere of the play La verdadera culpa de Juan Clemente Zenea (The True Fault of Juan Clemente Zenea), written by Abilio Estévez and directed by the playwright Abelardo Estorino, with whom Eiriz maintained a close friendship. The heads were made to represent the main characters of the work: the poet (Zenea), the mother, the father, and the actress and poet Adah Menken. However, there is a close resemblance between these faces and the countenances of Fidel and Raúl Castro, Celia Sánchez, and Vilma Espín— political leaders of revolutionary history. The expressionist aesthetics and the dark humor characteristic of Eiriz’s poetry are seen here in the ironic tone that distorts semblances, in that demystifying gesture with which the artist manipulates the iconography of her homeland. Belonging to the generation of the 1950s and linked to the Los Once group (1953–55), Eiriz is considered an iconic figure of Cuban art. She graduated from the Academia Nacional de Bellas Artes San Alejandro in 1957 and taught at the Escuela Nacional de Instructores de Arte and the Escuela Nacional de Arte. She was a pioneer in community work by teaching popular art and was a innovator of the installation genre on the island.