Sandú Darié first encountered Surrealist artists and writers while studying law in Paris from 1926 to 1932. During the 1930s he worked as an art critic and caricaturist for Romanian and French publications. In 1941 he migrated to Cuba where, in the late 1940s, he committed himself to art. His early lyrical abstractions, called “Composiciones” (Compositions) were exhibited in solo shows in 1949 at the Lyceum in Havana and Carlebach Gallery in New York. That same year Darié began a nine-year correspondence with the Buenos Aires-based artist Gyula Kosice (b. 1924), which led to Darié’s participation in Madí exhibitions and his contribution to the magazine Arte Madí. From 1950 onwards Darié became a leading representative and promoter of abstract art and Concretism in Cuba. He co-founded the magazine Noticias de Arte (Art News) in 1952 and became a member of the group Diez Pintores Concretos (Ten Concrete Painters) from 1958 to 1961. Darié exhibited in the 1952 Venice Biennale and three editions of the Bienal de São Paulo (1953; 1955; 1957). His interest in movement and spectator involvement became evident in his kinetic sculpture series “Estructuras transformables” (Changeable Structures), first exhibited in 1956. Later he explored movement, light, and sound in films and theater.