In the essay "Sandra Ramos: Living Bridge," curator and art historian Susana Torruella Leval writes:

"Ramos transforms herself endlessly through her work. As a red-uniformed niña pionera (pioneer girl), during the early '90s, she explored the limits of her island world as a public school student (described by her as 'andar sin pies ni manos,' 'advancing without hands and feet') in post-Revolutionary Cuba. During the island’s 'Special Period' (Período Especial en Tiempo de Paz), c. 1992-6, following the dissolution of the USSR, Ramos metamorphosed into a water creature – half-fish, half-siren – navigating a silent underground world of extreme need, painful partings, long separations, death."

Though made a decade later in 2003, the collage-drawing Por más que corra no llego (No matter how much I run I can't arrive) bears a certain kinship to the hybrid water creature Torruella Leval describes. A serenely smiling image of the artist rises from a colorful oversized snail shell, paradoxically surrounded by a halo of small legs, each running in its own direction. As the 2000s advanced Torruella Leval wrote , "Ramos pursued a scrutiny of her society with relentless determination. Ever darker works (2004-8) captured the uncertainty of quotidian life in Cuba." Por más que corra no llego may be understood as a moment's pause, with a touch of rueful humor, before darker visions take hold.