him to develop a coherent yet diverging style that, many years later, still tells the story in pictures of the most important private cultural institute there ever was in the country. Seen from afar, every image has the force of the last and the definitiveness of the first; they are simple, systematic designs, forceful and pregnant images, which stem from a familiarity with the limitations of printing. [...]

[…] When the Department of Design became swamped with work, Distéfano called me to contribute to it as a freelancer. His work had already attracted my attention on one of my frequent visits to the institute, when, on the corner of Lavalle and Florida street, I discovered a wall covered in posters announcing the Di Tella Prize ’64 (this “Parthenon of posters”, as Juan Andralis would call it without any exaggeration, would later travel around the world). When I met him personally I recognized in him the same accurate lucidity conveyed by his designs. From that moment we established a working relation that continues to this day.