The Bernal family entered the United States in Miami, Florida.
 Their stay in the state was brief – a few months on account of the scarcity of employment.
Subsequently, in autumn of 1962 they relocated to Chicago, Illinois.
Bernal confronted the need to support his family and, because of language barriers, became employed in a factory designing artistic materials for commercial purposes.
Meanwhile, he continued to produce personal art.
Critics during this period observed his work revealed a transformation affected by the change in geographical environment.
While in Cuba his palette did not reflect the brilliant, intense colors of his native land; but in Chicago he began to incorporate in his art the tropical hues of his Caribbean homeland.

In 1964, Bernal's art portfolio was reviewed by an executive at Marshall Field's and he was offered a position as Senior Designer.
There, the director of Field's fine arts gallery persuaded Bernal to exhibit his impressionist portraits, landscapes and still lifes.
Shortly thereafter, "... Betty Parsons, art dealer, artist, and collector, discovered Bernal's work and began a series of orders to show and sell his paintings at Dayton's art galleries in Minneapolis.
The lucrative connection made it possible for Bernal to give up his job at [Marshall] Field's and return to school where he could pursue his dual dream of teaching and painting."

After being granted an MFA evaluation by the School of the Art Institute of Chicago in 1970, Bernal returned to teaching art while continuing to create and exhibit his works.
Lydia Murman, art critic of the New Art Examiner, wrote about Bernal's 1981 solo exhibition of collage and assemblage: "Bernal's works involve the viewer because they resurrect the concern for art as a communicative force.
The viewer reacts to the classical arrangement, in which found objects are manipulated with a respect for their physical properties and for their potential symbolic value.
While warm wood, old newspaper print, tarnished metal, and antique objects produce an aura that absorbs the viewer and stirs archetypal images within his subconscious, some works, such as "Balancing the Unbalanced," in which a faucet is perceived as a faucet, invite the viewer to open the dialogue concerning substance and illusion, art and reality."

"Although Bernal and his family didn't realize it, the first signs of Parkinson's disease began to appear during the 1980s, and he was eventually diagnosed in 1993. [
However,] ...he continued to work, to move forward and fight back against the ravages of the disease[.] ...
In 2004, Bernal [proposed] to the National Parkinson Foundation [in Miami, Florida] ... to donate a number of his paintings, which would be auctioned to benefit the foundation.
Bernal's tremendous contribution ... expanded to some 300 works of art."

Bernal's work is annotated in two books by Dorothy Chaplik on Latin American art: Latin American Arts and Cultures and Defining Latin American Art/Hacia una definición del arte latinoamericano but in her essay The Art of José Bernal she discusses Bernal's oeuvre, as well as describes Bernal's artistic process as he traversed life's challenges, including political unrest in Cuba, his personal battle with Parkinson's disease, and his passion for his art.

Bernal died of complications from Parkinson's disease on April 19, 2010, at his home in Skokie, Illinois.
Documents on his life and art are archived in the Institute for Latino Studies of the Julian Samora Library at the University of Notre Dame, Notre Dame, Indiana.
The Bernal family entered the United States in Miami, Florida.  Their stay in the state was brief – a few months on account of the scarcity of employment. Subsequently, in autumn of 1962 they relocated to Chicago, Illinois. Bernal confronted the need to support his family and, because of language barriers, became employed in a factory designing artistic materials for commercial purposes. Meanwhile, he continued to produce personal art. Critics during this period observed his work revealed a transformation affected by the change in geographical environment. While in Cuba his palette did not reflect the brilliant, intense colors of his native land; but in Chicago he began to incorporate in his art the tropical hues of his Caribbean homeland.
In 1964, Bernal's art portfolio was reviewed by an executive at Marshall Field's and he was offered a position as Senior Designer. There, the director of Field's fine arts gallery persuaded Bernal to exhibit his impressionist portraits, landscapes and still lifes. Shortly thereafter, "... Betty Parsons, art dealer, artist, and collector, discovered Bernal's work and began a series of orders to show and sell his paintings at Dayton's art galleries in Minneapolis. The lucrative connection made it possible for Bernal to give up his job at [Marshall] Field's and return to school where he could pursue his dual dream of teaching and painting."
After being granted an MFA evaluation by the School of the Art Institute of Chicago in 1970, Bernal returned to teaching art while continuing to create and exhibit his works. Lydia Murman, art critic of the New Art Examiner, wrote about Bernal's 1981 solo exhibition of collage and assemblage: "Bernal's works involve the viewer because they resurrect the concern for art as a communicative force. The viewer reacts to the classical arrangement, in which found objects are manipulated with a respect for their physical properties and for their potential symbolic value. While warm wood, old newspaper print, tarnished metal, and antique objects produce an aura that absorbs the viewer and stirs archetypal images within his subconscious, some works, such as "Balancing the Unbalanced," in which a faucet is perceived as a faucet, invite the viewer to open the dialogue concerning substance and illusion, art and reality."
"Although Bernal and his family didn't realize it, the first signs of Parkinson's disease began to appear during the 1980s, and he was eventually diagnosed in 1993. [However,] ...he continued to work, to move forward and fight back against the ravages of the disease[.] ... In 2004, Bernal [proposed] to the National Parkinson Foundation [in Miami, Florida] ... to donate a number of his paintings, which would be auctioned to benefit the foundation. Bernal's tremendous contribution ... expanded to some 300 works of art."
Bernal's work is annotated in two books by Dorothy Chaplik on Latin American art: Latin American Arts and Cultures and Defining Latin American Art/Hacia una definición del arte latinoamericano but in her essay The Art of José Bernal she discusses Bernal's oeuvre, as well as describes Bernal's artistic process as he traversed life's challenges, including political unrest in Cuba, his personal battle with Parkinson's disease, and his passion for his art.
Bernal died of complications from Parkinson's disease on April 19, 2010, at his home in Skokie, Illinois. Documents on his life and art are archived in the Institute for Latino Studies of the Julian Samora Library at the University of Notre Dame, Notre Dame, Indiana.
José Bernal