Andres Serrano

Snapshot

Introduction

American artist Andres Serrano has an unusually well documented connection to Jeffrey Epstein. Unlike individuals whose names appear only in contact books or schedules, Serrano publicly acknowledged knowing Epstein, meeting with him and producing a commissioned photographic portrait in exchange for a Renaissance religious sculpture.

The relationship began with an art object. In 1995, Serrano attempted to acquire two religious sculptures depicting the Madonna and St. John. Epstein had already purchased the Madonna, leaving Serrano with the other figure and a desire to reunite the pair.

According to Serrano’s account, discussions about the sculpture continued over many years. In 2018, Epstein agreed to exchange the Madonna for a portrait. Serrano photographed Epstein in 2019, only months before Epstein’s arrest on federal sex trafficking charges.

The portrait subsequently became part of Serrano’s exhibition Infamous, which examined disturbing aspects of American history and the objects associated with them.

But the sculpture transaction is only part of the documentary story. Released Epstein records also contain direct correspondence between Serrano and Epstein concerning a proposed Cuba introduction, political conversations, planned meetings and contact information for Leon Black.

Those documents establish multiple points of contact extending beyond the final portrait. They also raise questions about how Epstein used his connections within the art world, and how artists and collectors maintained relationships with him after his 2008 conviction.

This article examines Serrano’s own explanations alongside the available records. It distinguishes completed transactions from proposed introductions, documented correspondence from speculation and professional association from evidence of criminal activity.

Key Takeaways

• Andres Serrano acknowledged knowing Epstein for many years and described repeated meetings concerning a religious sculpture.
• The relationship originated with Epstein’s acquisition of a 16th century Madonna statue that Serrano wanted to reunite with a companion sculpture.
• In 2018, Serrano agreed to photograph Epstein in exchange for the Madonna. The portrait was completed in 2019.
• Serrano publicly discussed the arrangement in a November 2020 interview with Artnet News.
• A May 24, 2012 email documents Serrano asking Epstein about a possible introduction to a person identified as Raúl during an upcoming trip to Cuba.
• An October 2016 email documents political correspondence between Serrano and Epstein. It does not establish how Serrano ultimately voted.
• Epstein office calendars contain proposed Serrano appointments and reminders concerning the portrait project.
• Released correspondence documents Lesley Groff providing Serrano with contact information for Leon Black’s assistant.
• Serrano denied attending Epstein’s parties or traveling on his private aircraft or to his island in his 2020 interview.
• The documented art transaction and correspondence do not independently establish knowledge of, participation in or assistance with Epstein’s sexual offenses.

Andres Serrano: Artistic Career and Professional Background

Andres Serrano was born in New York City in 1950. He became internationally known for photography exploring religion, identity, mortality, power and subjects that many viewers consider taboo.

His best known work, Piss Christ, depicts a crucifix submerged in a liquid identified by the artist as his urine. The photograph became a major subject of controversy over public arts funding, religion and freedom of artistic expression.

Serrano’s work extends well beyond that single photograph. His projects have included portraits, religious imagery, studies of death, people experiencing homelessness, and collections of objects reflecting political and social history.

The Huis Marseille Museum for Photography describes his sustained interest in Renaissance painting, religious imagery and classical composition.

This background matters because the transaction connecting Serrano to Epstein involved a historical religious sculpture rather than an ordinary photographic commission.

Serrano also collected religious objects and older artworks. His interest in the Madonna sculpture was consistent with themes that had appeared throughout his artistic career.

The Madonna Sculpture: Where the Relationship Began

The 1995 Discovery

According to Sarah Cascone’s November 2020 interview with Serrano, the artist encountered two 16th century sculptures at an antiques establishment in 1995.

The sculptures depicted the Madonna and St. John, figures commonly associated with Christian religious art.

Serrano wanted to acquire both objects, believing they belonged together. However, Epstein had already purchased the Madonna.

Serrano obtained the companion sculpture but continued trying to acquire the Madonna.

The resulting situation created a point of contact between the artist and Epstein that persisted for years.

Epstein’s Ownership of the Madonna

Epstein’s purchase placed him in possession of an object Serrano particularly wanted.

In his later account, Serrano described learning that Epstein owned the sculpture and pursuing the possibility of obtaining it.

The existence of this art connection is supported by the artist’s detailed public account and the later completed portrait transaction.

However, the original 1995 purchase invoice, full provenance documentation, price and transfer history are not established by the source material presented here.

These details would be important in a separate investigation of Epstein’s art acquisitions and financial transactions.

Repeated Discussions Over the Years

Serrano said that he and Epstein met periodically to discuss the sculpture.

According to his 2020 interview, these meetings concerned business and art. Serrano also said his wife, Irina Movmyga, attended the meetings.

His account places their association across a period extending both before and after Epstein’s 2008 Florida conviction.

The meetings are important because Serrano’s own account establishes personal contact beyond a single exchange of correspondence.

At the same time, his recollections should be identified as firsthand testimony given years after some of the events, rather than independently verified attendance records for every meeting.

Epstein’s 2008 Conviction and the Continuing Art Relationship

Epstein pleaded guilty in Florida in 2008 to state offenses involving prostitution, including an offense involving a minor.

His conviction and subsequent designation as a sex offender were public information before Serrano agreed to produce the portrait.

The timeline therefore raises a legitimate question about professional relationships maintained with Epstein after his conviction.

Serrano addressed the issue in his public interviews, describing the relationship in terms of his longstanding interest in the Madonna sculpture.

He also characterized Epstein’s crimes in strongly condemnatory terms after the financier’s death.

Those statements provide Serrano’s explanation for continuing the relationship. They do not independently establish everything he knew at different points in time.

Knowing that someone has a criminal conviction and knowing the full extent of an alleged trafficking enterprise are different evidentiary questions. The record must not treat them as interchangeable.

The 2018 Portrait Agreement

A Photograph in Exchange for the Madonna

According to Serrano, Epstein eventually agreed in 2018 to exchange the Madonna sculpture for a photographic portrait.

The agreement was a barter transaction involving artwork rather than a conventional cash purchase, as described by the artist.

Serrano obtained the religious sculpture, while Epstein would receive a photographic portrait.

The exchange explains why Epstein subsequently sought to complete the portrait session.

What Is Known About the Transaction

The 2020 Artnet interview provides a firsthand account of the agreement and identifies the Madonna as a 16th century sculpture.

That reporting also includes a photograph of the sculpture and the completed Epstein portrait.

The existence of the artworks and the artist’s acknowledgment provide substantial support for the exchange.

However, the sources examined here do not independently establish the object’s appraised value, the exact shipping arrangements, insurance coverage or the complete contractual terms.

Those omissions matter when considering the transaction’s possible financial significance.

Artistic Exchange Versus Financial Compensation

A trade of artwork can involve considerable economic value even when money does not change hands.

The record supports describing this arrangement as an exchange of a portrait for a sculpture.

It does not support assigning a specific monetary value to either object without reliable appraisal or transaction documentation.

The 2019 Jeffrey Epstein Portrait

In 2019, Serrano photographed Epstein to fulfill the agreement made the previous year.

The portrait was taken shortly before Epstein’s July 2019 arrest on federal sex trafficking charges.

The completed photograph depicts Epstein posed for the camera in a conventional formal portrait.

Serrano subsequently titled the work Infamous (Jeffrey Epstein).

The Circumstances of the Sitting

In his 2020 interview, Serrano described the relevant encounters as professional meetings rather than social occasions.

He stated that he had not attended Epstein’s parties, traveled on Epstein’s aircraft or visited Epstein’s private island.

These are Serrano’s reported statements about his own activities.

The sources reviewed for this article do not independently establish a complete record of every place Serrano visited or every encounter he had with Epstein.

Why the Portrait Matters

The portrait is a physical and publicly exhibited artifact connecting Serrano and Epstein.

It provides stronger evidence of a completed professional transaction than a scheduling entry or an unconfirmed introduction.

It also establishes that Epstein remained involved in art related transactions shortly before his final federal arrest.

The photograph itself does not establish that Serrano knew about any particular criminal activity beyond information publicly available at the time.

The Infamous Exhibition at Fotografiska

Serrano’s portrait of Epstein appeared in Infamous, an exhibition presented at Fotografiska New York.

The museum’s exhibition record lists the show as running from October 22, 2020 through February 27, 2021.

The exhibition primarily examined racist imagery and historical objects associated with discrimination and dehumanization in American culture.

It included photographs of objects collected by Serrano, including historical racist memorabilia and material associated with white supremacist ideology.

Why Serrano Included Epstein

In his November 2020 interview, Serrano explained that Epstein’s death influenced his decision to include the portrait in the exhibition.

The portrait had originally been created to fulfill the sculpture exchange, not specifically for the exhibition.

After Epstein’s arrest and death, Serrano reconsidered its meaning and incorporated it into the broader project.

The artist presented Epstein as a figure whose public image had become inseparable from the abuse and exploitation associated with his name.

Later Exhibitions

The artist’s exhibition history documents subsequent presentations of Infamous outside New York, including Stockholm in 2022.

The exhibition’s international circulation is relevant to the public history of the portrait.

However, an exhibition appearing at different museums does not necessarily establish that every individual photograph appeared at every venue.

May 24, 2012: Cuba Correspondence and the Raúl Inquiry

One of the most significant direct records predating the portrait transaction concerns Serrano’s planned travel to Cuba.

The May 24, 2012 correspondence, EFTA00647600, records Serrano asking Epstein about a person identified as Raúl.

Serrano indicated that he would be leaving for Cuba on Sunday and asked whether there had been any progress concerning the proposed contact.

Epstein’s Response

Epstein replied that a religious issue had arisen after someone researched Serrano’s work.

Serrano responded by explaining that he was Christian and expressing surprise at the apparent religious concern.

The exchange suggests that Epstein had been attempting, or at least discussing, an introduction involving Serrano and a third party.

Was Raúl Castro Involved?

The name Raúl, combined with Serrano’s reference to Cuba, raises the possibility that the intended contact was Raúl Castro, who was serving as Cuba’s president in 2012.

However, the cited email identifies the person by first name only.

That document does not independently establish the person’s full identity, any accepted introduction or a meeting with a Cuban government official.

The evidence therefore supports an inquiry concerning a possible Cuba contact. It does not establish that Serrano met Raúl Castro through Epstein.

What the Religious Objection Indicates

Epstein’s response indicates that Serrano’s artistic work apparently became an issue for someone considering the proposed introduction.

Serrano’s career included religiously controversial imagery, including Piss Christ.

Nevertheless, the record does not identify the person who objected or establish precisely which artwork prompted the concern.

Attributing a specific objection to Raúl Castro or another named official would require additional evidence.

Related Copies of the Correspondence

EFTA00647609 contains a related copy of the Cuba exchange.

It should be treated as part of the same correspondence chain unless comparison of the original documents establishes separate communications.

October 2016: Political Correspondence With Epstein

Additional direct correspondence between Serrano and Epstein became the subject of renewed public reporting in November 2025.

In Eileen Kinsella’s November 14, 2025 Artnet investigation, the publication examined an October 10, 2016 email discussing the United States presidential election.

The email addressed public reaction to Donald Trump’s comments revealed in the Access Hollywood recording.

Serrano expressed frustration with the public reaction and discussed the possibility of giving Trump a sympathy vote.

What the Email Establishes

The reported correspondence establishes that Serrano discussed political matters directly with Epstein.

It demonstrates that their communications were not limited exclusively to the Madonna sculpture or the later portrait transaction.

However, an expression of sympathy or frustration in a private conversation does not establish how the sender ultimately voted.

Serrano’s Response to the Reporting

Artnet reported that Serrano acknowledged the correspondence when contacted but said he did not remember the particular exchange.

His response is relevant because it provides the artist’s contemporary position concerning the released material.

The email must be interpreted according to its actual language and date, rather than used to infer a lasting political allegiance or an undocumented political arrangement with Epstein.

The 2018 Calendar Entries

Released office records contain several calendar entries and reminders mentioning Serrano.

These records help reconstruct how the portrait project and other proposed encounters were scheduled.

They also illustrate an important limitation of Epstein’s calendars: an appointment listed in a schedule is not automatically proof that the meeting occurred.

Portrait Project Reminder

EFTA00285541 contains an office reminder concerning the portrait project.

The entry supports the conclusion that Epstein’s staff were aware of a planned photographic arrangement involving Serrano.

That evidence is consistent with Serrano’s account of the 2018 agreement.

Additional Appointments

EFTA00305095 and EFTA00307036 contain references to proposed appointments involving Serrano.

These entries provide evidence of scheduling activity.

Whether every appointment was completed, canceled or rescheduled requires comparison with related correspondence and contemporaneous confirmation.

Why Calendar Evidence Must Be Handled Carefully

Epstein’s office records routinely included appointments, reminders, proposed introductions and travel arrangements.

Some entries represent completed activities. Others reflect plans that may not have materialized.

An accurate investigation should not transform a proposed calendar event into a confirmed meeting without corroboration.

Leon Black and the Art World Contact

Released documents also connect Serrano’s correspondence with Epstein’s professional network through financier and art collector Leon Black.

Black was a major figure in the international art market and maintained a documented financial relationship with Epstein.

The relevant issue for Serrano is whether the records establish contact, an introduction or a completed transaction involving Black.

The Calendar Reference

EFTA00284996 contains scheduling information that places a proposed Serrano appointment near an entry involving Leon Black.

Calendar proximity does not establish that Serrano and Black attended the same meeting.

It also does not demonstrate that either participant was aware of the other’s appointment.

Lesley Groff Provides Contact Information

A more direct record appears in EFTA00371311.

In that correspondence, Epstein’s longtime assistant Lesley Groff provided Serrano with a way to contact Leon Black through Black’s assistant.

This establishes that a potential communication channel was offered.

It does not independently establish that Serrano contacted Black, met him, sold him artwork, received compensation or entered into a business arrangement.

Why the Introduction Matters

The correspondence is relevant to understanding Epstein’s role as a potential intermediary within wealthy art collecting circles.

His ability to supply contact information for prominent collectors could make him useful to artists and other art market participants.

However, the existence of a possible introduction is not proof of improper influence, financial misconduct or criminal coordination.

Additional Correspondence Concerning Introductions

EFTA00365247 has been identified in the existing EpsteinWiki research as a third party communication referring to possible introductions involving Serrano.

That reference is useful as an investigative lead but does not, without the complete correspondence chain, establish the outcome of the proposed contact.

Identifying the sender, recipient, date and exact purpose of the introduction is essential before describing it as a completed meeting or relationship.

It should also be distinguished from Serrano’s separately documented communications directly with Epstein.

Independent Research and the Epstein Art Network

The Epstein Data art investigation provides an index of documents concerning Epstein’s art transactions, collectors, advisors, galleries and associated correspondence.

The report includes Serrano among figures connected to Epstein through the art world and identifies records concerning appointments and introductions.

It is a research aid rather than a substitute for original evidence. Its own description identifies it as an AI generated compilation that may contain errors.

For this reason, claims concerning Serrano must be evaluated against the underlying emails, original records and directly attributed public statements.

The documented Serrano transaction illustrates one way Epstein’s art holdings could support continued contact with people in cultural and collecting circles.

The available evidence does not establish that the portrait agreement was connected to a trafficking transaction or that Serrano participated in Epstein’s crimes.

Documented Chronology

Evidence Appearances and Document Register

The following records distinguish direct correspondence, calendar entries and reported transactions. Copies of the same email chain should not be counted as separate events.

What the Evidence Establishes

There Was a Personal Acquaintance

Serrano acknowledged personally knowing Epstein and meeting with him over a period of years.

That fact is supported by his own public statements and by documentary correspondence.

There Was a Completed Art Transaction

Serrano described exchanging a photographic portrait for the Madonna sculpture.

The portrait’s completion and subsequent exhibition independently support the existence of the photographic work.

Correspondence Extended Beyond the Art Trade

The 2012 Cuba correspondence and reported 2016 political exchange demonstrate subjects beyond the sculpture transaction.

These exchanges are relevant to the scope of the acquaintance but do not establish criminal collaboration.

Epstein’s Staff Facilitated Potential Contacts

Calendar records and correspondence involving Lesley Groff show office involvement in scheduling and providing contact information.

Those administrative actions must be distinguished from completed meetings and financial arrangements.

What Remains Unresolved

The Sculpture’s Financial Value

The cited material does not establish an independently verified appraisal, purchase price or final accounting value for the Madonna sculpture.

The Complete History of Meetings

Serrano acknowledged multiple meetings with Epstein, but the sources examined do not provide a complete independently corroborated attendance history for each encounter.

The Cuba Introduction

The 2012 email documents an attempted introduction, but does not confirm that Serrano met Raúl Castro or another government official through Epstein.

Contact With Leon Black

The available correspondence establishes that contact information was provided, not that a meeting or financial transaction followed.

Travel and Island Visits

Serrano said he did not travel on Epstein’s aircraft or visit the island. The cited records do not establish such travel.

Knowledge of Criminal Activity

No evidence examined in this article establishes that Serrano participated in Epstein’s sexual offenses or trafficking activities.

His documented acquaintance and art transaction should not be represented as proof of such involvement.

Conclusion

Andres Serrano’s connection to Jeffrey Epstein is substantially better documented than a passing mention in an address book. The artist acknowledged years of contact, described a completed exchange of artwork and produced a photographic portrait that was later publicly exhibited.

The relationship originated with a Renaissance Madonna sculpture that Epstein purchased in 1995. Serrano’s desire to acquire that object became the basis for repeated discussions and ultimately the 2018 agreement to trade a portrait for the sculpture.

The direct records also reveal additional dimensions of the acquaintance. The May 2012 Cuba correspondence documents Serrano seeking a possible introduction through Epstein. The 2016 political exchange demonstrates a conversation unrelated to the sculpture. Later office records document scheduling activity and the provision of contact information for Leon Black’s assistant.

These records demonstrate Epstein’s participation in a network of artistic, collecting and professional relationships that extended beyond his financial activities.

They also show the limits of what can responsibly be concluded. A proposed appointment is not a verified meeting. A forwarded contact is not a completed business deal. A politically charged email does not establish a voting history. And a portrait transaction is not evidence of participation in sexual abuse.

Serrano’s connection should therefore be classified as a documented personal acquaintance and art related relationship, supported by direct correspondence, the artist’s own statements and the completed portrait.

The remaining investigative questions concern the full financial documentation of the sculpture exchange, the complete appointment history and the outcomes of the proposed introductions. Those questions deserve examination through original records rather than speculation.

Questions and Answers

Who is Andres Serrano?

Andres Serrano is an American photographer and conceptual artist known for work involving religion, politics, social history and controversial imagery.

Did Andres Serrano personally know Jeffrey Epstein?

Yes. Serrano publicly acknowledged knowing Epstein and meeting with him over a period of years.

How did Serrano and Epstein become acquainted?

According to Serrano, the connection originated with a 16th century Madonna sculpture that Epstein acquired in 1995 and that Serrano wanted to purchase.

Did Serrano photograph Epstein?

Yes. He produced a photographic portrait of Epstein in 2019.

Was Serrano paid to photograph Epstein?

Serrano described the arrangement as an exchange of the portrait for a Renaissance Madonna sculpture. The cited sources do not establish a separate cash payment.

Where was the Epstein portrait displayed?

The portrait appeared in Serrano’s Infamous exhibition at Fotografiska New York beginning in October 2020.

Did Serrano communicate directly with Epstein?

Yes. Released documents include direct correspondence, including the May 24, 2012 Cuba exchange.

Did Epstein arrange a meeting between Serrano and Raúl Castro?

The correspondence documents a proposed contact identified as Raúl, but does not establish that a meeting occurred or independently confirm the person’s full identity.

Did Serrano discuss politics with Epstein?

Yes. Reporting published in November 2025 examined a 2016 email discussing the presidential election.

Did Serrano meet Leon Black through Epstein?

Released correspondence shows that Epstein’s assistant provided Serrano with contact information for Black’s assistant. It does not establish that a meeting took place.

Did Serrano visit Epstein’s private island?

Serrano denied visiting the island in his 2020 interview. The cited records do not establish an island visit.

Did Serrano travel on Epstein’s aircraft?

Serrano denied traveling on Epstein’s private aircraft. No such flight is established by the evidence presented here.

Was Serrano involved in Epstein’s crimes?

The cited records do not establish involvement in Epstein’s sexual offenses or trafficking activities.

Why is the portrait significant to Epstein researchers?

It establishes a completed art transaction, provides an example of Epstein’s interactions with the art world shortly before his final arrest and can be examined alongside correspondence and scheduling records.

Related EpsteinWiki Articles

• Artwork and Object Index
• Leon Black
• Lesley Groff

Sources

• EFTA00647600. May 24, 2012 email concerning travel to Cuba and the proposed Raúl introduction.
• EFTA00647609. Related copy of the May 2012 correspondence.
• EFTA00285541. Office reminder concerning Serrano’s portrait project.
• EFTA00305095. Calendar reference involving Serrano.
• EFTA00307036. Additional scheduled appointment involving Serrano.
• EFTA00284996. Itinerary mentioning Serrano and Leon Black in separate entries.
• EFTA00371311. Correspondence from Lesley Groff concerning contact information for Leon Black’s assistant.
• EFTA00365247. Third party correspondence concerning a possible introduction.
• Sarah Cascone, Artnet News, November 2, 2020. Firsthand interview concerning the Madonna sculpture, portrait transaction and meetings with Epstein.
• Eileen Kinsella, Artnet News, November 14, 2025. Reporting concerning released Serrano and Epstein correspondence.
• Fotografiska New York, Infamous. Official exhibition description and dates.
• Andres Serrano, Official Exhibition History. Exhibitions and international presentations of the artist’s work.
• Huis Marseille Museum for Photography. Artist background and discussion of religious imagery.
• Epstein Data Art Investigation. Secondary research index of Epstein art records, requiring primary document verification for individual claims.