Although the category of what is monstrous is featured at several moments in Berni’s work ç from his early surrealist stage until his last stage in which he shows consumerist greed, and in the saga of Juanito Laguna and Ramona Montiel ç his mixed media monsters are featured as a unique moment in his production. When Berni started to build them, the emblematic figures of Juanito Laguna and of Ramona Montiel had already been defined. But it is around Ramona ç their guilty conscience ç that they start to fill their imaginary. He explained this: "In the naked loneliness of the room, Ramona’s guilty conscience fabricates hallucinatory and sinister monsters, and at the crack of dawn her dreams are inhabited by nightmares."

Nevertheless, not all the Monsters are connected to Ramona’s world. Some are part of parallel stories, centered on the issue of war, destruction, and the omnipresence of death, and, in general terms, the eternal opposition between good and evil. The scenery depicts all this. The Massacre of the Innocents (1971), which is featured in the Museum of Modern Art of the City of Paris, is a set of "robots" which surround the "innocent," and will be included at this time.

* This text was excerpted from the exhibition Press Release with permission from the Borges Cultural Center, Buenos Aires, Argentina.