In 1929 she traveled to Paris, where she spent three years studying at the Grande Chaumière with Othon Friesz and at the André Lhote Academy.

The epistolary relationship with Felisberto during his concert tours comprises more than 100 letters populated with drawings and watercolors by Amalia, sketches for the poster of Stravinsky's Petrushka recital.

[4] In 1943, Nieto received a scholarship and traveled to Chile to take a summer course at the university under Jorge Romero Brest, with whom she began an enduring friendship.

[5] She wrote the children's play Acrobino and made the set for its premiere at the El Tinglado theater in 1972 with Laura Escalante.

It was compiled into a synthesis; distantly she tempted the geometric and if she did not enter fully into this it is because the seduction of the real and the poetic of her inner vision had to be seen.

Her spirit then took all these essences to form an art of her own.Amalia Nieto made numerous drawings, watercolors, paintings with oil and acrylic, sculptures, and engravings.

The geometric synthesis present in her paintings, as well as the series she called Naturalezas muertas mentales,[5] highlight her personal imprint on Uruguayan art of the 20th century, a free constructivism that introduces a conceptual and sensitive dimension, close to the metaphysical art of Giorgio Morandi.