As a Cuban born artist, the embodied cognition that shapes the art practice of Maria Magdalena Campos-Pons is her deep cultural connections. For Pons, inquiry into cultural histories involves dealing with the way her black heritage is represented and the realization that “the history that I have access to is the history that is told through a voice that is not necessarily of the black people” (interview with the author, 1996). In investigating these historical dislocations Pons uses the body as a window through which to explore autobiographical aspects of the past.