This chapter places the Cuban experience in a broader, Afro-Latin American context. It highlights some similarities and differences with other Latin American countries, with a special emphasis on Brazil, where scholarship about artists of African descent is considerably more advanced. As we begin the difficult task of reconstructing the lives and contributions of artists of African descent across the region, new cartographies in the art history of Latin America emerge. For example, the historiographic project linked to San Alejandro appears to have been uniquely successful, as it is possible to identify larger numbers of artists of African descent in other countries during the nineteenth century. At the same time, the presence of Afro-Cuban artists in early twentieth-century Europe was not unique, although the Cubans were there in larger numbers. Many of these artists, like their Cuban peers, were excluded from the new “modern art” that emerged under European influences in the interwar period and were relegated to the corners of academic, “pre-modern,” art. The chapter highlights intriguing parallelisms between Cuba and Brazil, which persist even after the triumph of the Revolution in 1959.