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The Martha Frayde Barraqué Papers consist of letters from the Cuban painter Wifredo Lam (1902-1982) to Frayde dating between 1962 and 1966.  The collection also includes a group photograph of Lam and Frayde in Mexico in 1957.

The papers document personal and professional activities of Adria Catalá Casey, "Cuban Shirley Temple,"  who was also a dancer in Grupo Folklórico.  Grupo Folklórico was established by Ministry of Education of the Republic of Cuba in 1951 with the mandate to represent Cuba in official international events, including festivals.  In April of 1954, the group represented Cuba in the National Folk Festival founded by the National Association of the Folkloric Festivals of the United States and the newspaper St. Louis Globe-Democrat.  There are clippings and photographs in the papers that document Adria Catalá Casey's participation in this festival. The materials include three scrapbooks containing clippings, photographs, invitations, programs, two issues of Bohemia, correspondence, etc. regarding Adria Catalá, clippings and photographs of Grupo Folklórico from 1954, photographs of artists of the radio station CMQ, edited by Radio Emisora CMQ on June 5, 1938.

The papers document professional and personal activities of José Martín in capacity of a commercial artist and professor in Cuba and Miami. Martín was a Professor Founder of the Koubek Memorial Center at the University of Miami where he taught for 10 years. He also founded and headed Martín Technical College until 1979, and his commercial firm, "Martín-Studio Advertising," and founded APLA (Asociación de Publicitarios Latinoamericanos). Martín's art expresses pain, suffering and joy of people searching for freedom.

The materials consist of autographed letter of Generalísimo Máximo Gómez, Chief of the Cuban Army during the Cuban Independence War to Victoria Pedraza, dated September 22, 1898, postmarked envelopes with stamp of winning design featuring José Martí and Antonio Maceo by José Martín, postmarked envelopes with stamps of winning design featuring José Martí by Isidro Martín and stamps of first place awards granted to José Martín in a Postage Stamp Contest held in Cuba in 1948 and 1953. The materials also include correspondence, clippings, post cards with award winning photographs by José Martín, drawings by Martín, photographs, awards, certificates, drawings showing various stages of advertisement, documents related to Commercial Art and Advertising College, information about programs offered in Koubek Memorial Center at the University of Miami, scrap book and DVD with Martín's art.

The Elián González Collection consists of copies of newspaper clippings and court orders documenting the case of the Cuban refugee child Elián González.  In 1999 when he was five years old, González was rescued at sea off the Florida coast. His mother had drowned during their passage from Cuba on a raft.  Relatives in Miami took custody of him and fought to keep him in the United States instead of being returned to Cuba with his father. In addition to clippings, the collection also includes memorabilia and photographs.  Clippings have been added to the collection following up on González, who returned to Cuba with his father in April 2000 after a months of court cases and protests in Miami's Cuban-American community.

The papers of Cuban actress Yolanda Arenas include primarily photographs, clippings, and  programs of theater productions in which Arenas performed. Folders for a few productions include scripts with annotations by Arenas.  The collection also contains headshots and other portraits and audio and video recordings.

The Laura Zarrabeitia Papers consist of four scrapbooks documenting her career as an actress in Cuba in the 1960s and 1970s.  The scrapbooks include photographs, theater programs, contracts, scripts, and clippings.

Nicolás Guillén Papers cover a particular time and place in the life of one of Cuba's finest 20th century poet.  They all deal with a trip he made to Uruguay in the late 1940s.  There are two manuscript writing styles.  The smaller tighter script is probably Guillén's.  The looser more open script matches his signature but could be someone else's.  It is possible that this second script is a dictation or copying of a Guillén work.  Materials include correspondence, clippings and photographs.  Some documents are signed by Guillén and others are not signed.

The papers document professional activities of Andrés Nóbregas, theater director and playwright staging his plays in New York Theater of The Americas and at the Hispanic Theater Festival in Miami. He also wrote for television. The bulk of material includes manuscripts of plays and libretti either written or directed or acted by Andrés Nóbregas. Materials also include some invitations and clippings regarding Hispanic Heritage Week.

The papers document professional activities of Carolina Garzón.  She taught mathematics in Elementary School and Social Studies in High School in Cuba since 1926.  In her capacity as a teacher, she collaborated on a book discussing the development of new programs in the Cuban Schools.  Garzón also worked as a Social Worker in Cuba in the 1950s, Miami and Tallahassee and as a supervisor of Pedro Pan program. 

The materials consist of those documenting Garzón's work as a teacher, and those reflecting her work as a social worker. They include correspondence, manuscripts of scholarly essays, social histories of Garzón's clients, a typescript of an essay "A Psychoanalyst's Observation During A Totalitarian Take-Over" by Dr. Gabriel Casuso Assistant Professor of Psychiatry at the Medical School of the University of Miami, which discusses Fidel Castro's revolution from Psychoanalytic perspective, bibliography of materials for Florida State University School of Social Work, a pamphlet on the destruction of private school system in Cuba, a published thesis titled "A Study of the Adjustment of Thirty Four Boys in Exile," photographs, a student card from Florida State University, clippings, miniatures of religious paintings and memorabilia.

The records document the treatment of political prisoners by the communist regime within Cuban prisons.  The materials consist of 3 CDs: "Presidio Isla de Pinos." (Compiled by Raúl Pérez-Coloma) on February 10, 2010; "La Montaña. Canciones de lucha y esperanzas," by political prisoner, Manuel Villanueva.  Graphic design by Alejandro Deoliveira. Miami 2007; "La Verdadera República de Cuba" by Dr. Andrés Cao Mendiguren, 2009.  The first CD  contains names of more than 10,000 Cuban political  prisoners, case numbers and the place where they were imprisoned. The materials also include manuscripts of letters written in Cuban political prisons in small letter, typescript of "La etica en el camino de revolucion," and post cards created by political prisoners in prison.

Ofelia González was an actress performing in theatre, mostly in Havana's Palacio de Bellas Artes and New York's Repertorio Español.  She also acted in film and TV. The materials document her acting career especially her portrayals of Bernarda in The House of Bernarda Alba in New York, Nurse in Romeo and Juliet in New York, Serafina in The Rose Tattoo in Havana, Medea in Medea in New York, Amanda in The Glass Menagerie in New York, Celestina in Celestina in New York, Clara in The Visit in New York and Mother in The Guns of Mother Carrar in Havana. 

The bulk of the material consists of photographs from performances and newspaper clippings with reviews of performances.  The papers also include correspondence and memorabilia.

The Asociación de Antiguas Alumnas Apostolado Records consist of pictures and official records from the alumni association outside of Cuba of the Apostolado school system in Cuba. The collection consists mostly of pictures and photo albums of alumni events, church services, and of the seven schools, students, teachers, and staff, primarily in Miami, Florida. It also includes VHS tapes, clippings and articles of alumni events, event fliers, religious material including books and iconography, and awards and memorabilia.

The papers document professional activities of Carlos Felipe in a capacity of a playwright and of Rosa Felipe in a capacity of an actress.  The materials consist of manuscripts of Carlos Felipe's plays, in which he deals with human passions, giving his characters essential Cuban elements.  Some of the plays were published in Spain, while others were published in Cuba.  The manuscripts of the following plays are included in the papers: "Esta noche en el bosque," for which he received Premio Nacional de Teatro in 1939, "Tambores," and "De pelicula."  A copy of "El Chino," published by Repertorio Teatral Cubano and a published miniature of "Capricho en rojo" are also included in this collection.  The collection also contains academic essays by other authors about Carlos Felipe's plays, especially about "Réquiem por Yarini" in which Carlos Felipe utilizes structure of Greek tragedy.  Materials include clippings with interviews with Carlos Felipe, theatre programs, especially the programs of the several productions of "Réquiem por Yarini" and theatrical reviews.

The materials also document acting career of Rosa Felipe who worked in Cuba, Madrid, Latin America and Miami.  Rosa Felipe worked with other Cuban actors in exile in Miami for the theatre group Repertorio Español.  The bulk of the material documenting Rosa Felipe's career consists of photographs from Cuban TV, theatre and award receiving events.  Moreover, the collection contains Certificates of Recognition, membership cards, slides and theatre programs of productions featuring Rosa Felipe.

The papers document professional activities of Blanca Varela in capacity of a soprano.  Her vocal range from mezzosoprano to soprano coloratura allowed her to sing parts for various operas, operettas and zarzuelas Cubanas.  The materials consist of theatre programs from her performances in operas, operettas and zarzuelas mostly in the Dade County Auditorium.  The collection also includes copies of photographs representing theatre performances with Blanca Varela singing in operas, operettas and zarzuelas for Teatro Nacional in Havana and for Cuban TV.  Moreover, the collection includes published scores with Varela's notes on them, manuscripts of musical scores, manuscripts of poems, L'Elisir D'Amore with annotations, newspaper clippings, a list of her recordings , a booklet describing her biography, and one letter.

The papers document activities of José Morell Romero.  They illustrate his entry into the fight against Machado as one of the leaders of the Directorio Estudiantil Universitario of 1930, his service as general counsel to the University of Havana and his service in the Grau administration as president of the Retiro Azucarero.  The materials also document Morell Romero's service in the Prío administration as president of the Retiro, administrator of the railroads, administrator of the bus lines and Secretary of Labor, as well as his service as a justice of the Cuban Supreme Court during the period 1950-1960.  Finally, the documents depict Morell Romero's  service as  a leader or member of various exile groups seeking to achieve the liberation of Cuba from 1960s until his death, and his service as provisional president of Cuba in exile under the 1940 Constitution.  The papers contribute to the documentation of the efforts of the Cuban exile community to regain the homeland.  Of particular interest in this regard are those documents that detail efforts that took place in the early 1960s and are being made available to the public perhaps for the first time. One can discern from these documents that the exiles were closer than most may have imagined to securing a post-Bay of Pigs action against the Communist regime.

The materials include documents, photographs, correspondence, meetings minutes, anti-Castro articles, notes, essays and course outlines.  From the Cuba period, the papers contain documents and newspaper clippings that were brought by José Morell Romero from Cuba.  Included in this group is his "Algunos Votos Particulares," a monograph of his dissenting votes during the Batista administration, as well as, dissenting opinions and newspaper clippings from the time period right before and immediately after his resignation from the Cuban Supreme Court in November of 1960.  These documents reflect the deterioration and ultimate destruction of an independent judiciary.

The StoryCorps Historias Interview collection contains 152 interviews recorded from 2009-2010 as part of the StoryCorps Historias project. The interviews held by the Cuban Heritage Collection represent all interviews recorded in Miami and of participants who self-identify as Cuban or of Cuban descent, regardless of place of interview.

In 2009, the Cuban Heritage Collection became a community partner of the StoryCorps Historias project, “an initiative to record the diverse stories and life experiences of Latinos in the United States.” As part of this partnership, the Cuban Heritage Collection received all oral histories recorded in Miami and all interviews in which participants self-identified as Cuban or of Cuban descent. The StoryCorps Historias interviews held at the Cuban Heritage Collection are available for online viewing at the Cuban Heritage Collection’s reading room.

The Juan Jose Remos Papers contain the personal documents of Cuban journalist and politician Juan Jose Remos. They include clippings, correspondence, books on Cuban literature and poetry, booklets, scrapbooks, photographs, posters, and unpublished manuscripts. The clippings and written material are mostly collected from Remos' time in exile, written by him and others, detailing Cuban exile culture and political sentiment in Miami. Some material from Remos' time in the Cuban government, mostly photos and correspondence, is also available.

The papers document Helio Nardo's activities as a writer. The bulk of materials includes correspondence to Nardo from Cuban prominent exiled figures. The materials also consist of extracts from some published articles, and clippings. Some letters discuss the topics of Castro's regime in Cuba and political situation in Chile.

The Dulce Beatriz papers contain photographs and other documents related to Cuban painter Dulce Beatriz (b. 1931) and her husband, Spanish flamenco guitarist Leonardo Beatriz. The papers consist of two scrapbooks and other materials. The first scrapbook documents professional activities of Dulce Beatriz, and contains photographs and other documents. The second scrapbook documents her husband's professional activities. It includes programs, a patent for a fabric stretching device, photographs and a biographical note on Mr. Beatriz. The collection also includes a box of clippings.