Her works cover a variety of styles including sculpture, painting, graphic montages art objects and installations.

Maresca died of AIDS in 1994, just a few days after the opening of her retrospective at the Centro Cultural Recoleta in Buenos Aires.

Maresca always opted to show her works of sculptures and installations in unconventional settings and with unexpected materials.

She was considered to be the "cultural communicator of the eighties" by her peer Marcia Schvartz (b.1955) because of how she created sculptures and installations that broke free from artistic expectations.

[2] She later became a professor in the graphic design department at the University of Buenos Aires (UBA) and directed her own plastic arts workshops.

[3] She died in Buenos Aires in 1994 at the age of 43 from causes related to the HIV virus, while she was preparing a retrospective exhibition.

[1] Liliana Maresca studied painting at the Escuele Nacional de Cerámica with Renato Benedetti, drawing with Miguel Angel Bengochea, and sculpturing with Emilio Renart.

[1]  She later became a professor in the graphic design department at the University of Buenos Aires (UBA) and directed her own plastic arts workshops.

[4] Liliana Maresca's first public artistic appearance was in 1983 when she took part in a group exhibition at Estudio Giesso.

Some have interpreted this work as a commentary on both race and gender, with the white mask complicating Maresca's Latina identity.

A year later in 1984, she participated in Kriptonita verde, an exhibition prepared by the Museo Juan Carlos Castagnino in Mar del Plata.

Along with Ezequiel Furgiuele, with whom she formed Grupo Haga, Maresca made a scarf measuring 328 feet long, composed of rags found in the neighborhood of El Once; the work was titled Una bufanda para la ciudad de Buenos Aires (A scarf for the city of Buenos Aires).

[2] That same year, she also organized a group show entitled Lavarte meaning "wash yourself" in an automatic laundrette in Bartolomé Mitre Street.

Liliana Maresca was a key figure who participated in the artistic scene since the early 80's, starring the enthusiastic young bohemian that detonated Buenos Aires from the early years of democracy rapidly becoming an inflection figure, which initiates and develops many of the avant-garde that characterize the art of 90's.

[6] Documents of installations and performances convey a comprehensive panorama of an artistic production that spanned the period between 1983 and 1993.

Painted all white or in gold and silver, the carts were meant to critique the suffering of the socially marginalized.

[2] A year after, at 1991, she exhibited Ouróboros, an object made ip of unbound books forming the mythical serpent that devours itself, at the Facultad de Filosofía y Letras.

[6] In 1992, her most conceptual work was created with the installation of Espacio disponible (Space available) at the Centro Cultural Recoleta.

For this piece Maresca placed a signboard advertising the availability of the space "for any purposes" and included her name and telephone number and two dates.

[2] A few months later and with the help of colleagues, Maresca published in El Libertino fourteen erotic photographs of herself under a title suggesting a connection to the ad she had earlier presented and again including her name and telephone number.

Both works revealed her interest in the performativity of the language of advertising and the expectations placed on the artist as a maker of objects and fantasies.

Her artworks reflected the neo-dada spirit, the minimalist models, and the conceptual strategies that dominated the art scene in the second half of the century in Argentina.

[8] From a post-avantgarde, post-utopian point of view, all the paradoxical, body- and object-based photo-performances which Liliana Maresca was associated and obsessed since the 1980s and through her death in 1994.

[10]  The object entitled “Carozo de durazno (Peach pit)” – an oversized vagina molded in foam rubber – appears in another image tenderly cradled in the arms of the artist, an ironic suggestion of how to treat the intimate female body.

In 1993 the Maresca-López duo reunites again to perform the latest photo shots, which were commissioned for the posters and postcard of the exhibition invitation Imagen pública – altas esferas (Public image - High spheres).

[12] The shooting took place in Liliana Maresca's house along with the oversized prints of images from Página 12 newspaper produced to create and constitute such installation.

The latest series is a derivation of the work Imagen pública – altas esferas (Public image - High spheres).

"[6] In that sense, the use of the body as alternative surface to the sheet of paper of the canvas, was equivalent to a new neo-romantic strategy intended to get her engaged, through different means, with the surrounding world.

Buenos Aires[6] 1988: Madres y Artistas” (Liliana Maresca, Elba Bairon y Marcia Schvartz).

Fundación Proa, Buenos Aires[6] 2014: Perder la forma humana, Una imagen sísmica de los años ochenta en América Latina.