During his brief career, Alberto Greco worked simultaneously in a number of creative fields (literature, poetry, painting, drawing) evolving towards a line of conceptual inquiry that was remarkable for the creation of a one-man movement known as Vivo-Dito or ‘living art’. Greco proclaimed himself founder of Vivo-Dito in his 1962 Manifesto, which set out his position as an artist: the action of pointing at something with his finger (dito) gave contexts and situations an unexpected value which could turn into a work of art. This was a gesture connected as much to certain Duchampian poetics as to the rise of the New Realisms, with their new poetics of the object. Alberto Greco moved to Spain in 1963, and became a founding figure in the new conceptual practices developing at that time. He alternated his time in Madrid with periods in Piedralaves (Ávila) doing a number of Vivo-Ditos and other actions and interventions. These included the fundamental work Gran manifiesto-rollo arte Vivo-Dito (Large Vivo-Dito Art Manifesto-Roll), which combined writing, images, collage, photographs and notes that made up a genre in themselves, closely related to the serial painting that the Situationists were practising in France at the time. Greco’s entire production re-establishes the art-life equation and vindicates the artist’s vital attitude towards the signification of the artwork conceived as a process, the radical stance of which anticipates the artistic developments that would bring about a paradigm shift in the coming years.