The artistic production of Pablo Suárez painting was figurative. In his first solo exhibition at the Galería Lirolay (1961), he showed paintings that distance themselves from Informalism by utilizing images of magazines, resulting in works that made reference to specific places and times. Suárez worked mainly in sculpture in 1962 and 1963. His first installation Munecas Bravas [Bold Dolls], in 1964, presented grotesque figures of prostitutes turning the Galería Lirolay into a house of ill-repute. Also in 1964, Suárez initiated his relationship with the Instituto Torquato Di Tella and with the nucleus of artists associated with it. This period would define many of Suárez’s future projects. In 1965 he worked with other artists to produce La Menesunda, an elaborate and popular installation-journey created by Marta Minujín and Rubén Santantonín at the ITDT.
In 1967 he participated in Homenaje a Latinoamerica [Homage to Latin America], a spontaneous exhibition in honor of Ernesto “Che” Guevara, who had been assassinated a few days earlier. In Experiencias 68 [Experiences 68], Suárez presented as his work a letter of refusal to participate in the exhibition curated by Jorge Romero Brest, at the ITDT. In his letter, Suárez questioned the institution: “What I refuse to accept today is the Institute, which represents the centralization of culture. ” Suárez distributed the letter to viewers at the door of the Di Tella and through the vendors on Florida Street who inserted it in the newspapers. In 1968 Suárez participated in the creation of Tucumán Arde [Tucumán Is Burning], along with a group of other artists who sought to, in Suárez’s words, carry out actions “from the realms of aesthetics, acts that to a certain extent coincided with certain political goals.”
Late on in his career, Suárez distanced himself from artistic and political activity, withdrawing to live in the center of the country. In the 1970s, he returned to painting. His painting was realist, reclaiming elements from his environment and seeking to emphasize elements of daily life.
Source: Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, p345