Mario Nigro was born in Pistoia in 1917.
In 1949 he held his first exhibition at the Salto Library in Milan. With the series "Ritmi continui simultanei" and "Pannelli a scacchi" the artist surpassed the canons of concrete art. The work from these years was immediately received well internationally, as demonstrated by the invitations received from the 1951 and 1952 Réalités Nouvelles Paris salons. In 1951 Gillo Dorfles presented Nigro in a solo show at the Salto Library in Milan.
The first works belonging to the series of "Spazio totale" were exhibited at the Fiore Gallery in 1952, in the same gallery where the french group M.A.C./Espace, a fusion of the Italian M.A.C. and the French Espace, was started.
In 1958 he moved to Milan to dedicate himself to painting. In 1959 he held three solo shows in Losanna (Galerie Kasper), Venezia (Galleria del Cavallino), and Milan (Galleria dell'annunciata).
Between 1965 and 1975, after having completed at the beginning of the 1960s a reevaluation of the "Spazio totale" and the "vibratili Collages" series, Nigro completed works of grand scale, which were also presented at the Venice Biennale of 1968, where he was invited with a personal showroom in the Italian Pavilion.
In the second half of the 1960s he started minimal progressive projections of the new series, named "Total time", then "Facilities licensed fixed colour."
In 1979 on the occasion of a major solo show at the Padiglione d'Arte Contemporanea of Milan, he completed, on the walls of the exhibition space, a sequence of graffiti associated with a positional analysis of the golden section. In this way he started the research on "Analisi della linea", that took on the dramatic shape of “Teremoto” in 1980, and in 1982 the artist presented at the Biennale of Venice with the work "Emarginazione".
The following year, the interrupted line became sensitized towards its metamorphosis into a sequence of points, giving life to the subsequent series: "Orizzonte" and "Orme". In 1984 the town of Pistoia dedicated a large anthological show to Nigro, while during the second half of the decade in the series of "Ritratti" and "Dipinti satanici" an expression increasingly turned on appeared in his work, constantly connected with a vision far from scientific or descriptive narrative, explicit direction more rarefied in series of the early nineties, "Meditations" and "structures".
Mario Nigro died in Livorno in 1992.