Perception is central to one of Gertrudis Rivalta’s most acclaimed series beginning in 1997 that traverses Walker Evans’ photographs from his 1933 trip to Havana. Rivalta reoccupies the gaze of the white, male foreign photographer, in order to expose the relationships among sexuality, verticality, and unevenness that are implicated within ways of seeing. That same year she participated in the first Queloides exhibition, part of an ongoing project that focuses on racism in Cuban society. The only woman whose work was included, Rivalta’s expression and its circulation call attention to intersectionality in that gender, race, and class and how they align or misalign with one another are a central theme.