“An artist may or may not be explicitly involved in politics. […] In these shows politics is explicit. The origin, the core, the seed of the works, […] are social and political events. That is the force that drives my work. […] I remain sceptical of how effective what they represent might be; my works do not preach anything… I doubt that art may be very effective in modifying reality. If it does, it modifies it in a very slow and subtle manner.”

In December he participates in the exhibition Las camitas (The little beds), organized by AAVRA (Asociación de Artistas Visuales de la República Argentina [Argentine Visual Artists Association]), to raise money to buy equipment for the Hospital Paroissien in La Matanza, Buenos Aires. Shown at the Centro Cultural Recoleta, it was a remarkable success with the public. Distéfano contributed to it what the critic Alberto Giudici called a “masterpiece”, “a small bed and a bundle of cloths stuffed into an acrylic bloc, like a monolith preserved for eternity”. He was joined by more than 500 artists, who came together to help a public health system then in crisis, developing the premise of a metal hospital bed of 44 x 27 X 22 centimetres. Other artists included Enio Iommi, Graciela Carnevale, Diana Dowek, Eduardo Medici, Hernán Dompé, Nora Correas, Jorge Macchi, Mauro Machado, Matilde Marín, Marie Orensanz, Margarita Paksa, Liliana Porter, Josefina Robirosa, Mildred Burton, Zulema Maza, Pablo Suárez, Carlos Trilnick, etc.