In a 1998 interview, Los Carpinteros recounted to me the importance that this event had for the future trio: "In that show," explained Alexandre, "we wanted to offer as a work of art what we'd learned from the tobacco industry. Indeed, the model for the production of our art came from that sui generis industry: its union activity, the creation of a single object through the artisanship of various individuals, the finite nature of the product in the hands of the consumer, the provisional life of el habano. . . ." Before an audience comprised essentially of tobacco rollers, they tried to create the flux and reflux of the codes and procedures in the production of art and in the artisanal manufacture of tobacco. They complemented all this with a performance in which they pretended to be professors of "tobaccology." The performance made clear that the artists wished to give back what they had extracted from the factory, through a detailed cultural, sociological, and historical investigation. Referring to Para Usted, Dagoberto insists that the connections established there between the artistic and extra-artistic were aimed not so much at a dissolution of those boundaries but rather at "the creation, in a metaphorical sense, of a circularity in the very meaning of tobacco production for the nation; of this, the tobacco worker had no immediate consciousness, at least during the act of production." (Author interview with Dagoberto Rodríguez Sánchez and Alexandre Arrechea Zambrano, Havana, 1998.)
By using an ironic title, Paisaje Cubano (Cuban Landscape), a minimalist aesthetic, and recycled or discarded objects and materials, Kcho alluded to a fragile and precarious ideological universe. This heralded key themes in the development of his future work, which would deal with the issues of exile, insularity, the national identity, the temporary versus the eternal, and migration. One year later, Kcho had a solo exhibition in the Museo Nacional in Havana and immediately began to participate in important international events, among them the biennial art shows of Havana, São Paulo, Johannesburg, Istanbul, and Kwangju, South Korea; he also received the 1995 UNESCO Prize, among other awards.