Her parents, Apolinaria Cabrera and Conrado Romero, settled in the city for her birth, where later the youngest daughter of the marriage and her only sister, María Teresa, was born.

Claudio Silveira Silva, her teacher for two years, strongly influenced her vocation and encouraged her to move to Montevideo to continue her studies at the National Institute of Fine Arts [es] (ENBA).

In 1968 Romero entered the school of the Engraving Club, where she was a student of Carlos Fossatti [es] and met her former ENBA classmate, Rimer Cardillo.

Between 1975 and 1980 she participated in "El Dibujazo", a movement in which draughtsmen and graphic artists took part in expressing themselves against the social conflict of the period of the dictatorship.

During that year, she collaborated with draftswomen Beatriz Battoine, Irene Ferrando, and Marta Restuccia, and experimented by complementing her samples with audiovisual recordings with Nelson Advalov, which would lead her to new multimedia aesthetic searches in the 1980s.

With these works she participated in collective exhibitions that expressed the new paths taken by the nation's plastic arts towards the end of the dictatorship and during the first years of the return of democracy.

[2] In 1983 she presented Sal-si-puedes ("Get out if you can"), considered the first artistic installation made in Uruguay,[2] which included texts, music, body language, plastic art, and atmosphere.

[5] The work evokes the Charrúa ethnic group and recalls the Slaughter of the Salsipuedes [es],[1] constituting a reflection on national identity and pluriculturalism in a country that was considered practically without indigenous heritage.

[3] Sal-si-puedes is part of the crisis period of the post-dictatorship era in which the perception of a country with European roots, socially homogeneous and of tolerant tradition, was questioned.

Romero was nourished by the artistic and academic production (history, sociology, anthropology) that in this period questioned the historical construction of national identity.

[5] She continued working in the same direction by producing a performance, Uru-gua-y, in 1990, followed by two installations in 1992; Más allá de las palabras ("Beyond words") and Garra Charrúa, which uses, among a heterogeneity of elements, large amounts of text written in Spanish and Guarani, rescuing the linguistic heritage of that nation, present in everyday speech today.