From the end of the last century, the Cuban landscape has shown a broad spectrum of aesthetic motivations. The reason might be found in the eagerness of its exponents, of those more active in favor of a change, to find new courses of expression within the genre, or at least, to take distance from the greenness that has gone with it as an inevitable shadow, whose obvious erosion makes it harder and harder for them to say something different from what the masters have already said. In this endeavor, the referents that certain young landscape painters from the backyard bet on are described starting from their distancing from the most traditional landscape, as a strategy of visual encoding with which they can gain areas more given to introspection and subjectivity, if not to ambivalence. Along these lines, the exhibition "Impermanencia" (Impermanence) is presented by Alberto Hernández Reyes. The title itself is already a preamble to the changeable land in which this poetics introduces us to, of a certain illustrative bias at times, if not scenographic. You can go along this land as you can go along the ins and outs of an unfinished drama, whose anagnorisis seems to be anticipated by the current ecological crisis, among many others. His description of the landscape –few landscapists can refrain from it- is evanescent. With him we gaze into the bounds of fiction. His fields are visible under the section of a light of hints and atmospheric changes. Turner’s mark can be felt in certain chromatic fragments, particularly in the diffusion of the light when facing the color, with earthy and gray shades. The useful mist or the unusual geographical feature – so likely to be accepted both in the realms of the natural world and in the realms of imagination– offer a certain iridescence to the sight, stimulating the vision in favor of the artist’s proposal. From observing this exhibition we take with us the characteristic weather of Hernández Reyes’s landscape will, as well as the no less changeable one from our everyday life. Geography can also be a transfiguration of society; the change of weather in the human passions – the Romantics knew that very well-. At the end of the day, we are Nature: a plant, a tree, an animal; but above all, humans. One more grip, maybe, to see other possible dimensions of a reality that divides into two high and wide all over the canvas… and all over life, with the feasible purpose of showing us that other landscape of feelings.