He participated with “Bizarros y Críticos” in the 5th Biennial of Havana, a specific space intervention, in the house of Bolivar in old Havana.
Javier Gil points out in his essay “Simulación de Nadín y Simpson” (Nadin’s Simulations and Simpsons): "In any case the serial reproduction of Simpson men, beyond the smile that its allusion to critics awakens, is an object that reveals the de-territorializations of contemporary culture. In this style the unique product is synthesized with the industrial, the original with mass production, the sacred with the commonplace, the past with the present, the popular with the elite, the fleeting with the permanent. It merges the radically different while highlighting their unexpected proximity; one might almost say that the pre-Columbian Simpson becomes a happily mocking and playful symbol of many of today's cultural shifts "..
He taught creative workshops at the Faculty of Arts of the Jorge Tadeo Lozano University and at the University of Los Andes in Bogotá where he permitted and encouraged each student to work on their own processes.
He began his international career when German art collector Peter Ludwig, international sponsor of the Biennial of Havana, made a selection of works by artists to be exhibited at the Ludwig Forum Aachen Museum. Apparently the packaging that should've been used for his work remained in Cuba, and the pieces of pottery and stone that reached their destination, were seriously damaged and broken. Still the collector decided to restore and acquire the totality of his work, also creating a permanent exhibition space in the museum. Nadín then experiences another paradox: A dramatic moment that seems a failure becomes the door for international promotion.
He participated in the Colombia-Mexico artistic exchange: “Por mi raza hablará el espíritu” (For my race the spirit will speak) in Mexico City, a journey that expanded the possibilities of artistic production, there he contacted artisans of pre-Columbian pieces, and made an extensive series in polyester resin exhibited at the Chopo Museum of the UNAM under the direction of Lourdes Monge and curated by Rosalba Garza and Paloma Porraz. The exhibition was displayed the following year at the Luis Angel Arango Library of Bogotá.
He won the Guggenheim Foundation Fellowship in New York. His project was to take a tour of Latin America and visit archaeological sites in the area: Bolivia, Perú, Ecuador, Mexico and Costa Rica to make pieces with local artisans in each of these places.
In 1999 he displayed this work at the Bogotá Museum of Modern Art with the showcase: “Viaje al fondo de la tierra” (Journey to the depths of the Earth). Thus the repertoire of pre-Columbian models and consequent miscegenation expanded to the multiple iconographies of the various pre-Columbian cultures of America.
As a final part of the project, the artist hired a group of painters to make a series of images in a scientific traveler style. From this work emerges “Bodegones coloniales” (Colonial still life), based on Zurbarán paintings, and “Instinto Caribe” (Caribbean Instinct), a parody of the Renaissance portrait from the image of a tairona dignitary taken from a pre-Columbian ocarina.
From this moment on he participated in international art auctions such as Christie's and Sotheby's.
Selected for the Luis Caballero Prize of the Institute of Culture and Tourism of Bogotá, he presented the work “Stone Stars” (Estrellas de Piedra), a curatorial simulation in which the works of anonymous artists and the audience are used in a work of process art. Through a series of newspaper advertisements in which he invites unrecognized artists to submit their work to a post box, Nadín receives them and expands them into a larger format through a hired professional painter, who paints them at the exposition.
A critical parody that implements the great postmodern debate on the crisis of authorship and reaffirms the delegation of execution introduced by the artist in his earlier works.