Four years after the Dictator Rafael Trujillo's assassination, Suro returned to Dominican Republic in 1965, resuming his career as a diplomat serving in various embassies, culminating in a post in Washington, DC.

Throughout his long career, Suro was recognized with many honors, being the first artist to receive the 'Premio Nacional de Artes Plasticas' awarded by President Joaquin Balaguer in 1993.

[2] From a very early age, Suro knew he wanted to dedicate his life to art, against his parents wishes; his first painting teacher was his uncle, when he enrolled into his school in 1935.

[5] Shortly after marrying, Suro and his wife departed to Mexico City where the young artist was appointed cultural attaché in the Dominican Republic Embassy.

During this time, the Mexican capital was considered the center of art in Latin America, and Suro began studying at Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", where he studied art for nearly four years with some of the most prestigious artists in Mexico, including Diego Rivera, Agustín Lazo, Jesús Guerrero Galván and Manuel Rodríguez Lozano, as well as befriending other artists like José Clemente Orozco, Frida Kahlo, Lupe Marin and José Vasconcelos, who would play a crucial role in Suro's career.

[7] The Parsley massacre of 1937 was also fresh in the mind of the artist, who painted several works depicting terrifying scenes of mutilated children and headless corpses.

The following year, he had a solo exhibition at the institution, an event that was widely publicized in the city, bringing him recognition from some of the most important art critics – but perhaps leading to his downfall with his own government.

That same year, he had a successful solo exhibition at the National Palace of Fine Arts in Santo Domingo, showing works that were shown in Mexico with a few recent Dominican additions.

As Director of Fine Arts, received distinguished guests, including Alicia Markova and Anton Dolin and groups like the celebrated "Coros y Danzas" from Spain.

Arriving with his family in Madrid, Suro befriended some of the most prominent Spanish artists of the time, including Antonio Saura, Antoni Tàpies, Manolo Millares, and Jose Caballero ("Pepe").

[1] Combining diplomacy and art as he had in Mexico, Suro participated in group exhibitions in Madrid and Barcelona, as well as faraway places like San Francisco (Legion of Honor) and Pittsburgh (Carnegie Institute).

He represented the Dominican Republic in several important congresses (including the Congreso de la Cooperacion Intellectual Latino Americano—1952) while continuing his travels throughout the Iberian Peninsula and several other European nations.

The Suros heard gossip about the termination of his job and a close friend, who happened to be related to Trujillo's wife, recommended that they leave the country.

He wrote for many international publications, including the Paris-based Aujourd'hui and the Madrid-based Cuadernos Hispanoamericanos, and he was a frequent contributor at El Caribe and other newspapers in the Dominican Republic.

As in Mexico and Spain, Suro changed his style once again, expressing himself through geometric abstract images and eventually going on to paint works that were decidedly informal and expressionistic.

Bosch named Suro the cultural attaché at the Embassy of the Dominican Republic in Washington, D.C., as well as at the Organization of American States (OAS).

Suro was the first artist to receive "El Premio Nacional de Artes Plasicas" of the Dominican Republic in 1993, which was presented to him by President Joaquín Balaguer.