Three years later, she participated in the Second Graphic Arts Biennial in Cali, Colombia and then later, her work was featured in the Casa de la Cultura (House of Culture) in Quito, Ecuador.
Viteri's work displays an interest in insects and she developed a powerful passion for observing them at the Printmaking Workshop at the Universidad de los Andres, under the supervision of Umberto Giangrandi and the knowing gaze of Juan Antonio Roda.
[2] She got rid of wings and insect-like limbs and joined carnivals and funerals as men and women of extravagant features and expressions walked through canvases to finally congregate in the large mural Pictorial Space.
This mural is an exhibit of artwork presented at the Centro Colombo Americano in Bogota, Colombia and has traveled to many locations around the world such as the Intar Gallery in New York, the Hispanic At Center in New York, the Galeria of Quito, the Museo de Arte Contemporaneo in Panama City, La Tertulia Museum in Cali, and the Banco de la Republica in Pasto.
An early example is the work of Miguel Angels Rojas, who began to explore the medium at the end of the 1970s in the Atenas Salon and the project room at the Museum of Modern Art in Bogota, Colombia.
Alicia Viteri's book Memoria Digital/Digital Memory was published in 2000, where she uses the technique of computer art and recreated digital photography of her family and friends, recounting her life through images and brief legends.
[5] The landscape she has been working on since sometime ago became a parallel production that allows her to approach color and to leave behind the black- and- white world of her insects, carnivals, and funerals while deepening her mastery of the craft of painting.