The serigraph technique is introduced in Cuba from the Unites States around the final years of the twenties, coming from Mexico, as the outcome of a modernization process started in the early years of the century with the substitution of the litography for the offset and rotoengrave. This changes, in a way, were related to a spirit of comsumption that did not permit a breach to save and keep for the art service, as happened further more, the development of all those techniques taken away from the branch of the commercial publicity; braking in this way a whole tradition.

The screen, as it was named in the republican past, was associated from the beginnings on one side to a constant-peaked commercial publicity and on the other side, to a coarse advertisement in the political sphere. Despite it was quickly a very useful mean, it never went far beyond the boundaries of domestic atelier or modest enterprise to become ''Grand Atelier''. The main cause of this fact was that the main source of orders were not provided by remarkable companies, (...), but from the small industry, the small business men and cinematographic enterprises that were not under the influence of powerful transnationals of film distribution.

		After 1959, the former sources of orders, were swept by new social conceptions. All was leaning in favor of a different massive difussion, (...) Wide advertising campaings approaching health, education and culture, sports and materials savings are developed; the young revolution summoned masses up to new important tasks. Within this process, posters peaked, in a few years, a top and internationally-renowned place. There are, of course, examples of artistic works made in serigraphs around the decades of 60 and 70, by request of different institutions or created by authors´initiative, but with a few exceptions, the proposal did not achieve a sistematic character.
Eladio Rivadulla, author of the first poster about theRrevolution, signs a sample of a new edition at the Atelier. Also appear MarioCalvit from Panama and Guillermina Ramos

Around the 80s it is noticeable the necessity of achieving for the Plastic Arts a vehicle of permanent difussion allowing a level of access wider than that offered by the individual work, (...) the majority agreed in the fact that was the multiple serigraphic original the best to fulfill the highly-increasing demands (...). In other words, there is a common opinion stating the serigraph allows a more racional endeavoring of the art commercialization.