Since moving to Miami in 1992, painter, sculptor, and installation artist Edouard Duval-Carrié has forged some of the city's most enduring symbols. Ailing souls in the waiting room of Overtown's Jefferson Reeves Health Center can find temporary relief in the artist's renderings of vodou sirens and snakewomen that float in an ethereal sea of green across the atrium above their heads. Earlier this year art enthusiasts who visited the two-day show in the now-demolished Espirito Santo Bank building on Brickell found a strong political statement among the sand and sequins of the Haitian-born artist's "INS cemetery." While Duval-Carrié plays an important role in populating Miami's public spaces with sensuous and socially significant images, his worldwide reputation brings much needed prestige to our local visual culture. In collections and exhibitions from Port-au-Prince to Paris, from São Paulo to New York, Duval-Carrié's body of work challenges the limiting characterization of Caribbean-influenced art as "primitive" or "naive" without ever losing sight of the profound resources provided him by Haitian history and popular culture.