Museum of Art Fort Lauderdale and the Miami-Dade Public Library in Florida as well as at galleries in Fort Lauderdale, Boca Raton and Coral Gables, and in Miami, home to many exiled Cubans. Although Sanchez increasingly experienced vision problems, he continued to paint until his death in Warwick, New York, in 1999. Since his death, solo exhibitions of Sanchez's work were noted at the Bronx Museum in 2001; at Boston City Hall in 2009; and at Syracuse University Art Galleries in 2011. Exhibitions of his work were held in 2012 at Saint Joseph College (Hartford CA), and the University of Virginia's Fralin Museum of Art, as well as in 2013 at the University of Oregon's Museum of Art,<ref>"Building Light & Shadow: The Architecture of Emilio Sanchez." Jordan Schnitzer Museum of Art". Web.</ref> the University of Michigan, Indiana University, and the Ponce Museum of Art in Puerto Rico. Recognition and contribution Sanchez's paintings and prints drew the attention of both the public and critics as early as 1958. In 1967, he was interviewed for the series Listening with Pictures by Arlene Jacobowitz, Assistant Curator of Paintings and Sculpture of the Brooklyn Museum of Art. He was also recognized internationally and was awarded first prize at the 1974 Biennial in San Juan, Puerto Rico. During his career, his critical supporters included American art collector Barbara Duncan and A Hyatt Mayor, print curator at the Metropolitan Museum in New York. In style and subject matter Sanchez's work reflected both Latin-American and American culture. His colorful Caribbean palette and interest in light and shadow on vernacular architecture is attributed to his formative years in Cuba. Although his flat, sometimes abstract, geometric style was not unlike his Brazilian contemporaries Alfredo Volpi and Livio Abramo, his paintings evoked a sense of place that, for art historian Rafael DíazCasas, reflected a "feeling of displacement" and "idea of an absent household".Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. Hard Light: The Work of Emilio Sanchez. Ed. Ann Koll. New York: Prestel Publishing 2011: 22. Print. Although Sanchez's work is important within American Hispanic art, his work is also in the tradition of American painters Edward Hopper and Georgia O'Keeffe. For art historian John Angeline, his work also evoked the paintings of Charles Sheeler and extended "Precisionism a step further." Composed with "a photographer's eye", Sanchez's New York scenes recalled Berenice Abbott's urban photographs or Judith Turner's architectural abstractions.