by Cossío del Pomar. In 1949, his first solo exhibition, held at Joseph Luyber Gallery (New York NY), was followed by solo exhibitions in 1951 at Ferargil Gallery in New York and Ateneo Español in Mexico City. Although he moved permanently to New York City in 1952, Sanchez continued to visit the Caribbean, where he often photographed scenes as references for his art. In the mid-1950s, he experimented with printmaking techniques such as lithography, woodcut, and aquatint. Career In 1956, Sanchez's solo watercolor exhibition at Peridot Gallery (New York NY) of figurative New York or Caribbean street scenes was reviewed favorably by Stuart Preston of The New York Times. His 1956 solo show at El Lyceum (Havana, Cuba) led to his association with Galeria Cubana de Pintura y Escultura and group exhibitions in Venezuela and Columbia. In 1958, his solo show at Galerie Sudamerica (New York NY) was noted by Cuban critics. In 1959, he exhibited lithographs at the Havana Salón anual: Pintura, Escultura y Grabado and his first print solo exhibition Obras Gráficas, held at El Lyceum, was well received by the public and press. Although Sanchez did not return to Cuba after 1960, he continued to exhibit in biennials throughout Central and South America. At this time solo exhibitions of his work were held in San Juan, Puerto Rico, and Madrid, Spain, as well as in Houston, New Orleans, and New York. In 1968, Sanchez became an American citizen. He also signed with the renown Associated American Artists (New York NY) which held solo exhibitions of his work in 1968, in 1971 and 1981. Although Sanchez continually explored a variety of subjects including fruit, flowers, clotheslines, sailboats, and sunsets, by 1971, architectural themes, such as the arched doorways of the Medio Punto oil paintings, emerged as his signature subject. At this time solo exhibitions of his work were held throughout Latin America at the Museo Bellas Artes (Caracas, Venezuela), La Tertulia Museum (Cali, Colombia), Museo Ponce (Ponce PR) as well as the Center for Inter-American Relations (New York NY). During the 1970s, frequent trips to the Mediterranean inspired Sanchez to adopt a more geometric and minimalist approach in his Moroccan paintings or Boston City Hall drawings. By the late 1980s, however, he turned his attention to New York scenes and depicted Bronx bodegas, storefronts, and garages as solid blocks of color. During this time he exhibited at the