Visual artist, printmaker and teacher. His production is related to graphics, photography, mail art, artist books and performance. He completed his secondary studies at an industrial school and worked as a telephone technician for the ENTEL company, where he began union activism, in the telephone union. He completed his professional studies at the Higher School of Fine Arts of the National University of La Plata (1956-1961), where he was a teacher until 1975. In 1976, he was named director of the Luján School of Art, and a teacher at the Prilidiano Pueyrredón National School of Fine Arts. Regarding participation in the artistic exhibition circuit, in 1964 he exhibited at the Lirolay Gallery. He participated in the Braque Prize and in the First Latin American University Salon, held within the framework of the 2nd. American Art Biennial in Córdoba, Argentina, and received the Grand Prize for Engraving at the XIII Manuel Belgrano Municipal Hall of Plastic Arts. In 1965, he exhibited at the II American Engraving Biennial in Santiago, Chile, and the following year, 1966, in the exhibition Homage to Viet-Nam by plastic artists, at the Van Riel Gallery. In 1967, he was part of the IV Salón de La Plata, with a xerography that was awarded and which highlighted him as a pioneer in the use of this technique in Argentina. In 1968, he exhibited in the Artists of Paris and Buenos Aires exhibition. Art to sell and rent, at the Torcuato Di Tella Institute. In 1969, he received the Grand Prize of Honor at the LVIII National Hall of Plastic Arts, Buenos Aires and, in 1970, the “Hugo Parpagnoli” Award at the Third Swift Hall of Engraving. He participated in the San Juan Biennial of Latin American Engraving, in San Juan, Puerto Rico. That same year, he founded, together with other artists, “Arte Gráfico-Grupo Buenos Aires”, a collective that promoted engraving and encouraged experimentation and the dissemination of graphic production in public spaces. Between 1970 and 1971, he was a member of the Visual Experimentation Center and participated in Art of Systems, an exhibition organized by the CAyC. In 1972 he held an individual exhibition at the Arte Nuevo gallery, and participated in Arte e ideology, a CAyC initiative developed outdoors, in Plaza Roberto Arlt. Likewise, he exhibited at the Premio Salón Artistas con Acrólicopaolini in its 1972 and 1973 editions. In 1973, he presented the installation Violencia at the CAyC and a collective work titled Process to our reality at the Museum of Modern Art. Until 1975 he was a member of the Group of Thirteen, in which he met Edgardo Vigo and began his work in the field of visual poetry. He was General Secretary of the Single Union of Plastic Artists between 1975 and 1976. During 1977 and 1978, he went into exile in Honduras. Back in Argentina, between 1978 and 1980, he was invited to participate in the Jornadas de la Crítica and the Latin American Engraving Triennial, organized by the International Association of Art Critics of Argentina. In 1980, he served as curator of the Museum of Telecommunications, an institution of which he was director between 1983 and 1985. In 1985 he organized the exhibition Engraving: Art for many at the Eduardo Sívori Municipal Museum of Plastic Arts, and between 1986 and 1988 he was a member of the Experimental Graphics group. Between 1987 and 1994, he organized, together with Fernando “Coco” Bedoya, the series of exhibitions Gráfica Alternativa-Artistas con photocopies, at the Recoleta Cultural Center. He was part of Grupo Escombros in 1989 and won First Prize at the V Art Drawing Salon of Santo Domingo, Dominican Republic. In 1996, he participated in group 4 for 2000, La Mutual Art-Gentina and the V International Biennial of Visual / Experimental Poetry in Mexico City. Between 1997 and 2000, he co-edited the visual poetry magazine Dos de Oro. In 1999, he received the First Joan Brossa Prize for Visual Poetry in Spain. In 2000, he participated in the Seventh Havana Biennial and the following year he was invited to represent Argentina at the 24th. International Biennial of Graphic Arts in Ljubljana, where he presented the installation The Hidden Word. That same year, the Museum of Modern Art held the Juan Carlos Romero exhibition. Violence. Likewise, he received the Teaching Work Award awarded by AACA. Between 2001 and 2005, he collaborates with the magazine El Surmenage de la Muerta, edited by Fernando Fazzolari. In 2002, he joined the exhibition Art and politics of the ’60s, at the Palais de Glace. Likewise, within the framework of the II Argentine Biennial of Latin American Graphics, he presented the installation The Hidden Word at the Borges Cultural Center, Buenos Aires. In 2004, in the context of the First Performance Festival of the Southern Cone, he performed with Diego Melero the performance The American Anarchist City, IMPA, Buenos Aires, and participated in the exhibition Between silence and violence. Argentine contemporary art at the Telefónica Foundation Space. In 2006, he was part of the exhibition 30 years of memory at the Museum of Art and Memory of La Plata, and Body and matter. Argentine art between 1976 and 1985, at the OSDE Foundation. Additionally, she participated in the group exhibition Livros de Artistas at the Pinacoteca de Barão de Santo Ângelo, Porto Alegre. From 1999 to 2009 she contributed to the organization of the Mail Art Day and the Visual, Sound and Experimental Poetry Meetings. In 2009, she participated in the following exhibitions: Subversive Practices. Art under Conditions of Political Repression. 60s-80s, South America & Europe in Württembergischer Kunstverein Stuttgart, Germany and in The Margins of Art. Creation and political commitment, Center for Studies and Documentation of the Museu d’Art Contemporani de Barcelona. The OSDE Foundation presented the Juan Carlos Romero retrospective. Cartographies of the body, roughness of the word, Buenos Aires. In 2010, the National Arts Fund (FNA) awarded him the Artistic Career Award and the Espigas Foundation published the book Romero. He participated in 2011 with the installation Violencia in the Radical Shift exhibition. Politische und soziale Umbrüche in der Kunst Argentiniens seit den 60er Jahren [Political and social transformations in Argentine art from the 1960s onwards], Museum Morsbroich, Leverkusen. He held the individual exhibition Palabras at the FNA. In 2012, the Konex Foundation gave him the 2012 Konex Platinum Award: Conceptual Art: Five Year Period 2007-2011, and the Diploma of Merit. He presented the book Frases de mi vida and the work Violencia was in the exhibition From the revolt to postmodernity (1962-1982), at the Reina Sofía National Art Center Museum. In 2013, he received the 400 Years University Culture Award from the National University of Córdoba and in 2014 the Fondation Cartier pour l’art Contemporain and the Amparo Museum, Puebla, Mexico, invited him to the exhibition America Latina 1960-2013. Photos + texts. That year, he was part of Como falar de coisas que não existenm, 31st São Paulo Biennial, with the installation Violencia. His work was included in the exhibition The Protest. Art and Politics in Argentina, during the XXVIII edition of the Guadalajara International Book Fair, Mexico. In 2015 he was invited by the Museum of Contemporary Art of Serralves, Portugal, to the artist’s book exhibition Violencia. 100 years. A year later he exhibited Violence at the National Museum of Fine Arts in Buenos Aires and presented the book Double residence, the name also given to the individual exhibition at Waldengallery. Together with Fernando Davis, he curated the exhibition Oblique Poetics. Modes of counterwriting and phonetic twists in experimental poetry (1956-2016), at the OSDE Foundation, Buenos Aires. In April 2017, Juan Carlos Romero died. Following his death, exhibitions have been held commemorating his legacy. His work is part of public and private collections: National Museum of Fine Arts (MNBA), the Latin American Museum of Buenos Aires (MALBA) and the Museum of Modern Art of Buenos Aires (MAMBA), in Argentina; Museo Nacional Centro de Arte Reina Sofía (MNCARS), Archivo Lafuente, in Spain; Institute for Studies on Latin American Art (ISLAA), J. Paul Getty Museum, in the United States.