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The Alberto Alonso and Sonia Calero Papers contain photographs, programs and ephemera related to the dance careers of Sonia Calero Alonso (b. 1936) and her late husband, the dancer and choreographer Alberto Alonso (1917-2007).

The collection contains primarily materials from Sonia and Alberto's careers before they left Cuba in 1993. These include concert programs, performance booklets, clippings, magazines, and photographs. There is also material from their international career after 1993, including awards, clippings, and reviews from the United States, United Kingdom, Germany and Japan.

The Alberto Arredondo Papers consist primarily of Cuban economic reports and papers prepared by Arredondo or by groups of which he was a part.

The Alberto Baeza Flores Collection contains material by Chilean poet and journalist Alberto Baeza Flores, including several poetry booklets and academic papers.

The Alberto Cuartas Papers contain the photo albums, correspondence and other materials of Alberto Cuartas, counselor and house parent at Camp Matecumbe in West Dade, FL during Operation Pedro Pan and in other children’s homes under the auspice of the Catholic Welfare Bureau during the 1960s and 1970s.

The collection primarily consists of photo albums of Pedro Pan children in various children’s homes under the Catholic Welfare Bureau, including Camp Metecumbe. Also included are correspondence from Pedro Pans to Mr. Cuartas and other Pedro Pan memorabilia.

The papers document activities of Alberto Fernández-Medrano who was a Secretary, Vice-President and President of Lions Club of Florida, Camaguey, Cuba and a member of the Committee for International Relations. Fernández-Medrano was shot by Castro's Government in 1964. Materials consist of typescripts of anti-communist and anti-Castro writings including a typescript of a book "La unica alternativa: democracia o comunismo," correspondence, clippings, certificates and other documents.

The Alberto González papers document the professional activities of Alberto González (1928-2012), a prolific Cuban writer, humorist, journalist, and scriptwriter. His career spanned sixty years in show business, creating Spanish radio and television shows in Colombia, Puerto Rico and also theater productions in Miami, Florida. He was also known for his biting political satire and popular comedy shows.

This collection contains reel-to-reel audio recordings of radio productions created by CMQ while in Exile.

The Alberto Muller Collection contains materials relating to the Bay of Pigs invasion and the Mariel Exodus collected by Cuban writer and journalist Alberto Muller.

Documentation in this collection contains materials related to the Mariel Boatlift, Alberto Muller and the return of Brigade 2506 in December 1962.

The collection contains negatives of Cuban photographs and prints reproduced by Thomas Labs in Coral Gables, Florida.

This collection contains documents, clippings, photographs and ephemera of the activities of Alberto Sarraín and his theater production group, La Má Teodora. The collection documents his financial, administrative, theatrical and personal activities. There is also a group of personal papers that make up a portion of the collection, including materials related to Sarraín's work with the Community Relations Service at Guantánamo Bay Naval Base and the Guantánamo Refugee Education and Training Program.

A collection of 47 black and white prints (17 x 11 in.) of Alberto Sisso's photography. Notable prints include scenes around Venezuela, and prints from the following photo projects, "Metamorphosis," "Being There," and "Nuevos Espacios." Descriptions by Alberto Sisso for each photo project represented in this collection can be found below:

"Metamorphosis"

"The pictures on this series depict a group of artists getting ready for a play about the legacy of Florence Foster Jenkins. Ms. Jenkins was many things, but overall, she represents the freedom to be who you are. Although, she was the recipient of some of the silliest music criticism of all time; she became an icon for standing your ground regardless of what others might think.

These images take this message a step further by challenging traditional gender roles and emphasizing the universal themes of Jenkins' story. By casting men in the role of Jenkins, the images showcase the power of individual expression and the freedom to be oneself, regardless of gender identity or societal expectations. Men dressing as women in Latin America in the 1970s was not visible or accepted. These scenes were linked to an underground movement that supported the LGBTQ+ communities, and that often met with stigma and discrimination.

In Metamorphosis, I thrived to expose the deep melancholy of the moment, as well as the enduring love for the magnificent theatrical gesture. I looked for images that capture the bond between the artist and the person's essence. The looser frame allowed me to create compositions that transcended the image from its ordinary status into something unique. With each take I was hoping to deliver a particular emotion, kind of a blend of something classic with an everlasting experience. A way in which we can all see ourselves echoed in, not as a cliché nostalgic approach, but more in a reflective manner.

Depicted in these photographs are:

• Manuel Carvajal: stylist and make-up artist.
• Isabel Palacios: well-known mezzosoprano and director of several choruses.
• Francisco “Pancho” Salazar: director, musician.
• Alfredo Silva: poet.
• Jose “Cheo” Vaisman: pianist, director of Teatro Teresa Carreño."

"Nuevos Espacios"

"In the 1980s, the art scene in Caracas was booming, and the Contemporary Art Museum was at the forefront of the movement. Led by her director, Sofia Imber, the museum embarked on a much-needed expansion project, named Los Nuevos Espacios, which would go on to become an iconic institution in the city.

Imber was a trailblazer in the art world of Venezuela, and her dedication to promoting and supporting Venezuelan artists was evident throughout her career. Under her leadership, the Contemporary Art Museum became a hub for the country's avant-garde art scene, showcasing the works of both established and up-and-coming artists.

I had the privilege to document the night of the inauguration of Los Nuevos Espacios. It was a momentous occasion, and one that would go down in history. The walls of the museum were filled with the work of some of the most prominent artists of the time, including Alejandro Otero, Jesús Soto, and Carlos Cruz-Diez; and its corridors where packed with the best of the Venezuelan society. Representatives from the artistic milieu, politicians, entrepreneurs, and mainly art supporters and art lovers were present to bear witness of the making of the country’s modern history (the captions on each image list the names of some of the personalities in attendance).

Imber, beaming with pride, took the podium to give a speech, expressing her gratitude to everyone who had made the project a reality. For her, the expansion of the museum was more than just a physical transformation. It was a symbol of the evolution of Venezuelan society and the country's commitment to promoting and celebrating its cultural heritage. The museum was a testament to Imber's lifelong dedication to the arts and her unwavering belief in the power of creativity to transform communities. Imber's legacy continues to inspire and influence the arts in Venezuela, it lives on through the museum and the countless artists whose careers she helped launch. Sofía Imber was a visionary and true champion of the arts.

This series stand tall as a testament of the cultural memory of Venezuela, reminding future generations of the impact that Nuevos Espacios and Imber had on the art world."

"Being There"

"Jerzy Kosiński was a Polish-American writer who was known for his novels, including "Being There" and "The Painted Bird." In the 1980s, he was invited to Venezuela by the Diego Cisneros organization to participate in a cultural exchange program. As part of this program, Kosiński visited the Museo de Arte Contemporáneo in Caracas, which is one of the most important museums of contemporary art in Latin America, a must see stop and a city pride for all Venezuelans.

Kosiński's visit to Venezuela was part of a larger effort by the Diego Cisneros organization to promote cultural exchange between Venezuela and the United States. His visit to the Museo de Arte Contemporáneo was a significant cultural event, and it helped to strengthen the ties between the two countries in the realm of the arts. This series documents that visit."