[citation needed] He worked for various established architects, and with a group of young companions, he prepared an entry for a project for the construction of the Chamber of Commerce in Carrara.

In addition to his own work, Berrocal brought the best-known sculptors of the time to Verona, including: Miró, Dalí, Magritte, De Chirico, Lalanne, Lam, Matta, Duchamp-Villon, Ipoustéguy, César, Étienne Martin, Peñalba and many others.

In 1964 Berrocal exhibited as a sculptor in the Spanish Pavilion at the XXXII Biennale di Venezia, where the Belgian collector Baron Lambert acquired Mercedes for his collection.

He exhibited at the Palais des Beaux-Arts in Brussels, where he met artist Henry Moore, and Baron Lambert, the first of the considerable number of his devoted Belgian collectors and friends.

The successful series of exhibitions in private galleries begun in 1968 continued in: Frankfurt, Geneva, Paris, New York, Milan and Hanover, among others.

This year he finally produced Romeo e Giulietta, using the technique of injection casting, which for the first time enabled him to make 2000 copies of a sculpture.

Mini David began the series of five mini-sculptures produced in quantities of 10,000 copies, using the automatic injection technique, a procedure hitherto used exclusively in industrial manufacturing.

He received the Gold Medal from the Presidency of the Italian Republic for "Metal as a pure expression of art" at the V Biennale del Metallo in Gubbio.

On the basis of the experience of the Monumento a Picasso, he undertook a new series of monumental works, including Richelieu Big, Almudena, Dalirium tremens and Torso C. Also produced in this period were the editions of Il Cofanetto, a tribute to Romeo and Juliet and the city of Verona, and Paloma Box, a tribute to Paloma Picasso.

During a journey in the Belgian Ardennes he found a group of old anvils, which he bought which, in 1982, gave rise to the series Desperta Ferro, Almogávares, and the not completed Las Mujeres pasadas por la piedra.

His work Torero was included in the didactic exhibition Les mains regarding, organised at the Centre Georges Pompidou and intended for the blind.

In 1981, Berrocal returned to colour: he painted a series of gouaches and silkscreen prints and made two large patchwork hangings for Vogue International.

He visited New York, where he met the mayor of the city, Ed Koch, who showed great interest in the possibilities of Berrocal’s sculpture in an urban context.

[citation needed] 1986 was a period characterised by the installation of various urban monuments: Sarabande pour Picasso in Paris, Fuente del Limonar, a project for a garden with a fountain in Málaga and, Torso Es for the Olympic Sculpture Park in Seoul.

A substantial monograph was published in French by Éditions de la Différence in Paris, with a critical essay by Jean-Louis Ferrier.

He gave his first exhibition at the museum in Villanueva de Algaidas, in conjunction with the award of the status of Favourite Son in his native town.

As a result, he produced Doña Elvira, a 6-metre-high (20 ft) sculpture intended for the Auditorium on the Isla de la Cartuja in Seville; Manolona, a 14-metre-high (46 ft) sculpture erected in the Parque Juan Carlos I in Madrid; and Citius, Altius, Fortius, a torso 4 metres high, presented at the Exposición Universal in Seville, before being moved to its final site at the entrance to the Olympic Museum in Lausanne in 1993.

In response to technical difficulties encountered when making his monumental sculptures, Berrocal carried out research into new materials and techniques, not hesitating to turn to the most highly specialised industrial sectors in order to learn avant-garde technologies.

In September he took part in the international exhibition of sculpture and installations OPEN’999 at the Lido in Venice, with El Diestro, a work 3 metres high.

He gave talks in Spain at the University of the Basque Country, Faculty of Fine Arts, Bilbao and the Conference on the Teaching and Learning of Mathematics, Thales, in San Fernando.

In the spring, he was involved in an itinerant exhibition with the name Ecume: Autour de la monnaie unique, which took the design of the Euro as its motif and was organized by the French Government.

In June and August, an open-air exhibit of monumental sculptures, held in the magnificent Mediterranean landscape of Cap Roig in Costa Brava, was attended by more than 150.000 people.

There he managed the building of his new studio, an immense warehouse among olive trees, to hold the works his insatiable appetite for knowledge, fantasy, and versatile curiosity had led him to accumulate during more than 50 years of making art.

Berrocal started to move his material possessions from Villa Rizzardi de Negrar in the Valpolicella (Italy), where he had lived and worked for forty years, to his new residence in Spain.

[citation needed] The young Berrocal, inspired by the great creative forces of the first half of the 20th century, sought his own artistic path and asked himself: "How to awake people to sculpture?

The aims of the institution are the preservation, research, and dissemination of the work of Miguel Berrocal, as well as contributions to the advancement of sculpture in all its forms, and to the development and progress of culture and the arts.

The foundation is headquartered in the Estudio-Taller Berrocal, the artist's last studio and workshop, in his hometown of Villanueva de Algaidas in the province of Málaga, Spain.

The Studio-Workshop allows visitors "to discover the incredibly complex creative endeavors as well as technical process needed to prototype and produce [Berrocal's] disassemblable works.

[3] The building of the Berrocal Museum, still in development, hosts in its first wing open to public the Center of Interpretation of Water and Contemporary Art.

Another feature of this exhibition is the lesser known graphical works of the sculptor, a small representative selection that shows the strong relationship of the artist with his homeland, with the landscapes of Villanueva de Algaidas: the young artist started out as a painter, wandering in the fields, honing his passion and work, researching his inspiration among the hills of olive trees, in the faces of people, in the light of this ancient territory.