On the supposed that modernity is not merely the outcome of a relationship between centers and peripheries but rather an intense process of exchanges, migrations, and circulations of texts, images, and resources, which enables us to think about it more as a process of irradiation than one of co-production, the purpose of this essay is to revisit aspects of the Picasso effect, understood with and beyond the precise impact of the show in Buenos Aires, as an imprint that marked not only one way of examining images but also as a way of strengthening the artist’s figure with that of the author.