From then on, this means prevailed in the series of engravings devoted to Ramona (Ramona obrera or Ramona en la calle, Ramona y el viejo).

Together with Batlle Planas, Aizenberg, García Uriburu, Jorge López Anaya, Minujin, Seguí, Renart, Santantonín, Wells and Kemble, Berni was part of the show Collages at the Galería Lirolay, commemorating the fiftieth anniversary of the first cubist collages.

In statings to Michel Ragon, published in the Paris weekly Arts (18 December, 1962), he claimed to be working on Ramona Montiel, a character he had already conceived of in Buenos Aires. These collages would nurture from what Berni would find at the flea market, old Folies-Bergère’s dresses with spangles and bright colors, suitable to make of Ramona a “grande cocotte”.

As an acknowledgement for the prize he obtained in Venice, on December 23 was held the Tribute to Antonio Berni, a popular demonstration performed in a large tent set up in Plaza Miserere (Teatro Arena), Buenos Aires. Visual artists, critics and art dealers, aside from celebrated musicians and actors of the local milieu took part in it.