Mapping the statements of Afro-Cuban artists on the Afrodescendant social condition and their cultural heritage during the revolutionary period, this chapter delves into the Afro-centric art of Manuel Mendive, Rafael Queneditt, Rogelio Rodríguez Cobas, and others who, during the 1960s–1980s, pointed their emphasis to the Yoruba and Bantú worlds that shaped Antillean societies despite the regime’s religious intolerance. Along with Adelaida Herrera Valdés, Julia Valdés Borrero, and others, they formed the Group Antillano, the first visual art collective grounded on notions of Afrodescendant consciousness that Cuba had ever experienced. The chapter moves chronologically, noting how what could constitute the groundbreaking “New Cuban Art” of the post-1959 period is not Volumen I, but the art of the Queloides collective. While their works were not the first to be concerned with issues of structural racism, they were an unprecedented endeavor that moved beyond previous reformist visions and instead aimed to dismantle the fundamental tenets of Cuban national narratives. The chapter concludes with the internationalization of Afro-Cuban art and how migration and diaspora shape the work of contemporary Afro-Cuban artists.