Gustavo Pérez Monzón is from a generation of artists that conceptually and formally transformed visual arts in Cuba, during the last decades of the 20th century. His participation in the collective exhibition Volume I in 1981, at the International Art Center in Havana, was a breakthrough within the art production done until then on the island, and a declaration of his interest in geometric abstraction.

Monzón expresses in quite a cryptic manner the way a certain set of forces and relationships rule human connections; his work reflects upon a sort of metaphysics of line and space. The use of symbols as language and synthesis of complex thought; the use of mathematics and geometry as manifestations of an attempt to order natural chaos; and the tarot, like a mystical alphabet that establishes links between destiny and intuition. Consequently, his work opens the world to an important consideration of the limits and directions of abstraction in art. Gustavo works on fragile, subtle, and honest mediums, with most of his work done on paper and cardboard. He's also made installations of suspended threads that connect, in an almost scientific arrangement, with the enigma. As well as tapestries where the representation of philosophical and esoteric concepts meet, thanks to the repetitive and sophisticated act of weaving.

Pérez Monzón represented Cuba at the 1982 Paris Biennial and his work was part of the first Havana Biennial, in 1984. At the end of the 1980s, he decided to silence his career as an artist and move to Mexico, where his work turned to mostly educational and pedagogical projects at the Morelense Center for the Arts, in Cuernavaca, and explorations from collective creation. In 2015, the National Museum of Fine Arts in Havana presented the Tramas retrospective, organized by the Ella Fontanals Cisneros Collection. From then on, he resumed his artistic career, creating works that collect his recent researches, which have showcased a maturation in his production.