In "Palimpsesto," José Manuel Fors transforms discarded echoes of Cuba's turbulent history into a vertical excavation of time—stacking brittle shards of outdated manuscripts, faded periodicals, architectural schematics, torn book passages, handwritten correspondences, and sepia-toned snapshots into a precarious tower of recollection. This deliberate compression mimics the relentless overwriting of personal and national narratives, where suppressed voices bleed through the strata, challenging viewers to peel back the accretions and confront the selective fragility of what endures versus what fades.