French artist and critic Germaine Derbecq wrote, in a literary text, about the work of Alfredo Hlito underscoring its differences from Concrete art, especially regarding the modulation of color. She conceives Hlito's painting as a block without fissures and perceives it from an evolution in his visual thinking in which color is fundamental. 

This prologue is an interesting analysis of the artworks of Alfredo Hlito (1923-93), who in 1945 was a founding father of Asociación Arte Concreto — Invención [Concrete Art and Invention Association], in tandem with Tomás Maldonado (1922), a group from which he retired in 1946. This text, from 1960, comes from a key stage in Hlito’s career when his personal reading of a key problem of abstraction (the relationship between line and color) is consolidated through the transparency of a range of diluted colors with the precise paint stroke technique, this derived from his mid-1950s experimentation with Pointillism. He called this series of paintings Espectros [Specters], due to the burst of light through diluted color transparence. The act of painting, for him, involves the adding of color by means of a brush. After this show, Hlito began a process that would take him to the inclusion of the topic through the force of vertical lines, which is exemplified by the series Efigies [Effigies] and Simulacros [Simulations], both made while he was living in Mexico City (1964–73). Germaine Derbecq (1899–1973) was a French artist, married to Pablo Curatella Manes, who was an art critic linked to the journal Le Quotidiene [The Daily]. Derbecq founded the magazine Artinf together with Silvia de Ambrosini and Odile Baron Supervielle, and also promoted art, in general, organizing numerous exhibitions. The Galería Lirolay belonged to a Jewish-French couple named Fano and, from its opening in 1960 until 1963, had Derbecq as its exhibition consultant.