He first joined Ballet Hispánico as a principal dancer in 1985, leaving for Chicago a decade later to further his education and found the Luna Negra Dance Theater, for which he was artistic director.

[2] His vision for Ballet Hispánico draws on the Latin dance traditions and educational outreach set forth by founder Tina Ramirez while responding to the more complex cultural landscape of the 21st century with a greater focus on diversity, inclusion, and community engagement.

His immigrant experience and the example of his mother’s fortitude as she established her family in a new country later provided a model for Vilaro's dedication to dance, the arts, and community work.

Vilaro was a principal dancer, originating roles in a range of works by choreographers such as Talley Beatty, George Faison, Vincente Nebrada, Ramón Oller, and Graciela Daniele, and performing throughout the U.S. and in Latin America and Europe.

[3] “Culture is not static,” he says, “and our community engagement keeps us connected to the realities in our communities.”[11] Over its history, Ballet Hispánico has performed for over 3 million people in 48 U.S. states and territories, 11 countries, and three continents.

[6] In furthering the artistic scope of the company, Vilaro has overseen expanded programming, such as: the creation of the Instituto Coreográfico, established to support and cultivate emerging Latino choreographers;[4] participation as one of four American dance companies in the Lincoln Center at the Movies: Great American Dance series, streamed to over 600 U.S. cinemas;[6] the opening of Ballet Hispánico’s newly renovated home in the Arnhold Center on the Upper West Side;[6] community educational programs, such as Latin social dance classes, offered at the United Palace Theatre in Washington Heights, Manhattan; and Ballet Hispánico Communities, satellite sites for educational programs, performance, and community engagement, the first at California State University in Los Angeles, with plans to develop similar partnerships in other Latino and Chicano hubs, such as Houston and Miami.

[11] He considers dance to be a liberating, non-verbal language[7] through which students, dancers, and audiences can initiate an ongoing conversation about the arts, expression, identity, and the meaning of community.

Ultimately, my goal is to expose [our audiences and communities] to the variety, diversity, and intersectionality of this diaspora.”[7][15] Vilaro cites the mentorship of his early teachers and Ballet Hispánico’s founder and first artistic director Tina Ramirez as seminal influences in his dance education.

[5][1] Finally, Vilaro has often turned to theater, opera, music, visual arts, literature (some of his works include spoken text), even nature and wildlife as creative springboards.