Fade out puts Eduardo Rubén on a new creative level, as solid and far-reaching as the one he had in the eighties and nineties which originated all those canvases of psychedelic architecture that earned him a leading place in Cuban visual arts. Although some may have received them with a certain surprise and perhaps even with quite a bit of reserve, we know now that his photographic approaches of the last three or four years, the uninhibited, distrustful recordings of everyday reality, were not in vain; because since then he has returned to painting intensely without losing the obsession for fictional spaces. After some time the artist has found another pretext to test his capacity of invention, of pictorial entelechy, but he has done it at the expense of modifying certain perceptions and expectations. A few years ago he showed us an alternative world for the flight and compensation; today, he reveals to us dismal scenarios, of bewilderment and falls. Yesterday he invalidated us in the face of certain alternatives of daily life; today, he seems to ratify us in them.