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Curated by Olga Viso, it includes Elso sculptures and works on paper from the 1980s that reflect his interest in Afro-Cuban and ancient Indigenous cultures.

To deal with these hurdles, the exhibition’s organizers — Olga Viso, a guest curator, collaborating with Susanna V. Temkin of El Museo — have framed their project as a “contextual survey,” one that sets an influential artist in his time and beyond it by placing him in the company of artists he knew and others, inside and outside of Cuba, who were, at that time or later, directly or indirectly inspired by his example.

The lineup of artists Viso and Temkin have marshaled as context for Elso — Belkis Ayón and María Magdalena Campos-Pons of Cuba and Luis Camnitzer, Senga Nengudi, Lorraine O’Grady and Tiona Nekkia McClodden of the United States — make as stimulating a lineup of intellectual and spiritual renegades as any I’ve encountered this year.

In 1960, when he was 27, Mr. Valls fled the country with his 4-year-old daughter, Leticia, his 2-year-old son, Felipe Jr., and his wife, Aminta Viso de Valls, who was seven months pregnant with their daughter Jeannette.

The show, organized by Olga Viso, should be too.