“Every day I spend in prison is another day trying to make my country freer and fairer,” the artist and political prisoner told ‘The New York Times’.

Artist and activist Luis Manuel Otero Alcántara, imprisoned after the July 2021 protests, published a testimonial in The New York Times this Friday, in which he recounts his experience in prison and his confrontation with the Cuban regime through art. The article comes on the same day that a supposed US ultimatum to Cuba to release high-profile political prisoners, such as himself, expires.
Otero Alcántara recounts his story in the article and challenges the official narrative about the regime’s supposed current political opening. From his perspective as an imprisoned artist, the testimony summarizes how the state attempts to maintain its control on power despite pressure from the United States and demands from international organizations to end the criminalization of dissent.
The article confronts the announcement—cynically called by Díaz-Canel a “humanitarian and sovereign gesture”—of the release of 2,010 prisoners, from whom those who have committed “crimes against authority” have been explicitly excluded. “In other words, it didn’t extend to me,” writes the artist and political prisoner.
Otero Alcántara recalls that his sentence ends in July of this year, although he is skeptical about his release: “I don’t know if they will allow me to be free, nor what will happen to me or to my country.”
I do know that when the government says that Cuba’s political system is not open to debate, it is almost certain that political dissent will not be decriminalized.
“But I do know that when the Government says that Cuba’s political system is not subject to debate in possible negotiations with the US, it is almost certain that political dissent will not be decriminalized and that people like me will continue to go to jail,” he writes.
Otero Alcántara emphasizes that his imprisonment is just one of hundreds of cases of criminalizing dissent, in which expressions of critical opinion against the government end in criminal convictions. He recounts how the legal framework has hardened against freedom of expression since the 11 July 2021 Island-wide protests.
The artist was then convicted of “contempt” and “public disorder,” legal terms with ambiguous boundaries that allow for the punishment of political positions. Since 2022, the Penal Code has incorporated the charge of “propaganda against the constitutional order,” used to imprison citizens who express themselves in ways as diverse as putting up anti-government posters or publishing their critical opinions on social media.
The author points to these mechanisms of repression to refute the insistence of the regime and its president, Miguel Díaz-Canel, that there are no political prisoners in Cuba and that any citizen can freely express their opinion.
The most important thing is that they let me paint. It’s what’s kept me alive. That’s why the guards let me do it, so I don’t become a martyr.

Alcántara continues recounting his artistic and activist journey, describing how the government escalated its harassment until culminating in his five-year prison sentence: from his performances against Decree 349—a law that restricted freedom of expression in the cultural sphere—to the 2018 founding of the San Isidro Movement, comprised of artists, journalists, and academics who demanded greater civil liberties on the island. Alcántara’s activism is widely known internationally—he was included in Time magazine’s 2021 list of the 100 most influential people —but the artist revisits it now in his testimony for the readers of the New York publication.
The text devotes several paragraphs to describing daily life in Guanajay prison, emphasizing the poor food and monotony. The artist notes that he is aware of being a “privileged” prisoner, since his case has international visibility, which limits the abuses and mistreatment that have been documented in the Cuban prison system.
“The most important thing is that they allow me to paint. It’s what has kept me alive. I think the State knows that if I couldn’t make art, I would die, and that’s why the guards let me do it, so I wouldn’t become a martyr,” the artist writes.
An anti-government post on social media can land a person behind bars.
Inside Guanajay prison—where he is surrounded by both political and common prisoners—the inmates have created, according to Alcántara, “a space where people can get along,” which is very different from the atmosphere in other prisons on the island. “I know the guards aren’t to blame for me being here. Our destructive and dysfunctional political system isn’t their fault,” he writes.
“But the system remains,” the artist states, pointing out how, with the tightening of the Penal Code against dissent, “an anti-government post on social media can land a person in jail.” He adds that this situation has led to a mass emigration of artists, activists, and independent journalists, who have found themselves restricted from expressing themselves freely on the island.
“The government is still afraid of people like me, who haven’t been afraid to challenge the authority of the state,” says Otero Alcántara. “Even as conditions here have worsened under US pressure, it has made it clear that its hold on power is non-negotiable.”
“The government has made it clear that its hold on power is non-negotiable.”
The activist also describes how the regime has denied him any kind of leniency: eligibility for parole, sentence reductions, or house arrest, among others. To express his resistance and show that he has not succumbed to attempts to break his will, the artist reminds readers: “I don’t know how many hunger strikes I’ve already done to express myself.”
He adds, however, that his survival and creative work within the prison can serve as an example of “hope and sacrifice” for other Cubans. “I see it as an exchange of my time, as if each day I spend in prison isn’t a wasted day, but another day trying to make my country freer and more just.”
The author mentions in the article that the publication was made possible thanks to the mediation of the Cuban artist Coco Fusco.
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