Realized in the early nineties while Piña was still living in Cuba, Aguas baldías (1992–94) came to be at a moment of deep crisis on the Island. The collapse of communist allies left Cuba in complete economic and political isolation, which affected all aspects of life and triggered tragic migrations across the sea. Havana’s Malecón—the seawall and promenade that stretches along its Northern shore—became a cathartic stage for Cubans to go and release their daily burdens, from catching a breath of fresh air, to offering sexual favors to tourists for cash, to dreaming of the faraway lands beyond the sea. This area of the city quickly became a dominant motif in Cuban art of the time, along with other images that spoke of isolation and communication, migration and longing, survival and death. The presence of the Malecón reinforces the fate of being surrounded by the sea.   Horizontal planes of concrete, water and sky are constant motifs in these black and white photographs. A boy frozen in the air milliseconds before jumping off the Malecón into the water; sea water overflowing the seawall on a strong tide day; and a hand holding a fishing line are among the images in this series.   Piña refers to T. S. Eliot’s 1922 poem The Waste Land in his title. The artist’s own photographic take on disillusionment, uncertainty, and despair echo Eliot’s: “…I do not find /The Hanged Man. Fear death by water./ I see crowds of people, walking round in a ring./ Thank you. If you see dear Mrs. Equitone, /Tell her I bring the horoscope myself:/One must be so careful these days…”