Ignacio Pirovano wrote a brief letter to Alberto Greco on the impact his exhibition Las Monjas [The Nuns] had had on him; he considered the works to be an eerie testimony of the current era. Furthermore, Pirovano considered that with this exhibition, Greco’s informalist phase had come to an end.

After briefly training in Paris (1954–56), Alberto Greco (1931–65) settled in Brazil (1957–58), where he drew closer to the informalist aesthetics that he promoted later in Buenos Aires. In 1960, he exhibited his work at Galería Pizarro under the title Pinturas negras [Black Paintings] and, thereafter, in the Buenos Aires city center, he positioned billboards featuring his name on them. In 1961, he exhibited Las Monjas [The Nuns] at the Galería Pizarro. In 1964, he settled in Madrid—he had traveled throughout Europe since 1961—during which he had produced works in tandem with Antonio Saura and Manolo Millares; in this manner, he continued both his informalist and conceptual experimentation, beginning in the late-1950s. During a brief return to Buenos Aires on December 9, he produced at Galería Bonino Mi Madrid querido [My Beloved Madrid], a performance of a genre he called Vivo-Dito [The Living-Finger], on this occasion with the participation of flamenco dancer Antonio Gades. The performance ended at the Plaza San Martín, a square in Buenos Aires downtown. Greco had previously incorporated girls in flamenco dress in his solo exhibition at Galería Juana Mordó in Madrid in the month of May. This was his last work in Argentina; he committed suicide in Madrid on October 12, 1965. 

In 1961, his last year in Buenos Aires before establishing himself mainly in Paris and Madrid, he exhibited Las Monjas [The Nuns] at Galería Pizarro, with a brief epistolary text by Manuel Mujica Láinez (1910–84), with whom he had associated from his beginnings as writer in the 1950s. Having been regulars at the Juan Cristóbal Bookshop, a meeting place for literary clientele, they were both considered existentialists from the city of Buenos Aires. The basis of the exhibition was a postcard with the image of Alberto Greco posing for photographs like a baby.

Ignacio Pirovano (1906–80) put together an outstanding collection of international and Argentinean modern art, especially of Concrete art, which is in the collection of the Museo de Arte Moderno in Buenos Aires. He was the founding director of the Museo Nacional de Arte Decorativo [National Museum of Decorative Art].

This document is a lucid interpretation of the exhibition Las Monjas, revealing the cultural impact it provoked.