Dagoberto Rodríguez’s “La Havana Refugee Camp IV” asserts that Havana itself has become a vast, self-contained zone of internal exile. In a monumental isometric watercolor, the artist reconfigures the city’s iconic harbor into a dotted blue bay flanked by forking landmasses, where rectilinear buildings in muted tones are stacked like modular units amid green patches and snaking paths, evoking the prefabricated sprawl of a permanent refugee camp rather than a gateway to the world. Infrastructure that once promised mobility now serves as provisional shelters for an exodus that never leaves, symbolizing entrapment in systemic inequality and aid-dependent stasis. Rodríguez constructs the scene by first building precise 3D digital models from satellite imagery using Lego bricks, then transcribing them into watercolor; the toy’s mass-produced, consumerist modularity—rooted in the illusion of playful creation—collides with the harsh reality of displacement, distancing the viewer while parodying the impermanence of camp architecture and exposing the global power imbalances that render entire populations disposable. Conceptually, the work delivers an unequivocal indictment of revolutionary promise reduced to bureaucratic containment, where the once-utopian capital functions as its own holding pen of scarcity, surveillance, and indefinitely suspended futures.