"The Night of Counting the Years (Offering)" draws its origin from a specific and charged encounter: Harold Mendez's 2017 visit to Regla, a municipality on the outskirts of Havana with deep roots in Santería practice. Invited by the MacArthur Foundation's International Connections initiative, Mendez witnessed a Santero's celebration in which doors were locked as guests arrived, a ritual act meant to prevent spirits in transformation from escaping. That gesture, at once protective and liminal, became the conceptual foundation for this work. Produced at Tamarind Institute in an edition of fifteen, the four-color lithograph incorporates a screen as a final printed layer, a technical decision that subtly shifts the viewer's experience depending on proximity. Up close, the surface reveals its material construction; at a distance, the image coheres into something more atmospheric and elusive, much like the threshold between the visible and the invisible that Mendez consistently explores. Mendez's practice, shaped by his American upbringing and Mexican-Colombian heritage, has long investigated how identity is formed through geography, the body, and the traces left by those who have lived and disappeared. His work navigates the space between presence and absence, and this print is no exception. The occasion it commemorates is one of transformation, witnessed rather than performed, and Mendez positions himself as an offering to that moment rather than its author. Held in the collections of institutions including the Museum of Fine Arts Houston, the Studio Museum in Harlem, and the Museum of Contemporary Art Chicago, his work occupies a significant place in contemporary discourse around cultural memory and material practice. This edition, signed by the artist, represents both an intimate document of a singular experience and a formal accomplishment rooted in one of printmaking's most technically rigorous traditions.