In the week that followed the passing of Evelyn W. Politzer (1961–2026), a pivotal figure in the city's textile art scene, countless expressions of affection emerged alongside a mobilization of cultural initiatives that revealed how, in a time when the sense of community seems to have vanished, art in a city like Miami has been capable of building a social fabric able to bind itself to the meaning of creation even beyond death.

Reading Juan A. Martínez’s María Brito is equivalent to exploring an immense retrospective in which the chronological structure is crossed by multiple levels of meaning.