In his Canadian debut, Cuban-born artist Super Malo brought the raw energy of the streets into the white walls of Mania Contemporary. Beyond the Frame: Havana exploded with bold color, masked figures, and warped slogans like 2+2=5—a surreal and satirical equation that echoed through the show like a warning, or a dare.

Painted on salvaged wood panels and toy trains, Super Malo’s works fuse graffiti aesthetics with biting political critique, drenched in absurdist humor and coded rebellion. Snails glide past stacks of cash, masked figures pose with gold chains, and phrases collapse into punchlines. Nothing is sacred. Everything is fair game.

Beyond the Frame: Havana wasn’t just a title—it was a statement of intent. Super Malo didn’t adapt to the gallery space. He broke it open.