"[… ] Everyone has a shattered world behind him, and must always re-invent a grammar, a language. [… ]
When Pinto tracks an image on the canvas, the latter is defined as the concretization of a general anxiety of cognitive type. [… ] The artist does not try to put his cards on the table with regard to the disease of the century, in which his analysis penetrates like in the bowels of a sick body, but wants to be heard not as a 'preaching' but as a position that does not dissolve the personal identity in the magma of the momentary desires, that does not postulate the elimination of values but not even of needs, does not forget the needs of the body that must be investigated and studied. [… ]
You are not looking for a 'superman' but a man with the misery, passion, tenderness, service, generosity, meanness and originality and the banalities or imbecility of every man.
No one can judge who does evil, because no one is sure of not doing so, and certainly one must never get rid of this awareness. The signs, the color, the matter demonstrate the need to review certain things, to take them out, to touch them, to feel them, with all possible senses, to tell them, to tell them, to tie them to a 'everything': to the present, to the past, perhaps to the problem of death? [… IN ENGLISH].
Pinto puts his gaze on all appearances of life, gives voice to the absurdity of existence as to meaning, which sometimes seems to illuminate it. The artist does not say whether he wants the world to be order or chaos, whether pain is a necessity or an irredential tragedy. His religious familiarity with life gives Pinto an unscrupulous confidence in the whole range of sexuality and the ability to represent it with a freedom that the bourgeois intellectual cannot possess, because for him every story, life and desires continually resume their amazing game."
Marisa Vescovo, in Cat. Pinto...and Luther, project and design by Carmine Benincasae Lorenzo Sassoli, contribution by Marisa Vescovo and Luciano Nanni. Art Leader, Rome 1983