NEW YORK, N.Y.- Almost immediately upon his arrival in Cuba for the first time, American photographer Michael Dweck was swept up in a cultural bohemia reminiscent of 1930’s Paris salons. His unprecedented (and unrestricted) access to this hidden society of keenly observant artists, writers, musicians and glamorous models had never before been experienced by anyone in the West and is still not acknowledged within Cuba itself. Dweck’s personal exploration of this creative class existing in a classless society, a compelling aspect of Cuba’s contradictory status in the world today, is the basis of his third published work Michael Dweck: Habana Libre (Damiani editore). “Habana Libreis a story suggested, never told,” he explained. “Its subtext is an allegory of seduction, a ‘forbidden island’ that embodies a provocative mix of danger, tension, authority and mystery; teeming