The work is part of a group of photos taken mainly in Tangier: these are images of houses, facades, courtyards. The title recalls that of a work by Matisse from 1947. "Every little thing that happens every day - Matisse argued - is worthy of attention, of an attention that looks at the world seeing it inside, behind; as if it were not me, but what I look at, what I listen to, the passing of time ".

These new works, entitled 'In Teca', are like mosaic fragments made of nickel-plated brass hooks. The acrylic paint sometimes reveals the surface of the wood, whose knots and veins direct the compositions. The tablets are suspended inside openable display cases. Onion skins are blocked by hooks for hanging pictures and could change over time, as if they were marking the time of some kind of modular constellation on golden micro-sundials. In these new works Bruna Esposito rediscovers the emblematic strength of natural elements, very fragile but potentially very long-lasting, whose custody is entrusted to the hands of others, who can open the case. The author writes: “Usually paintings sealed under glass have always appeared to me as frozen and inaccessible. I hope the display cases will shorten the conventional distance between the work and the viewer. I hope the gaze is collected and welcomed. " (Federico Luger)

His is a painting full of symbolism, from which light forms and figures, apparitions and dreamlike evocations emerge. As Achille Bonito Oliva argues, "on the crest of a language that is both abstract and figurative, Gallo leads the world's gaze towards a surprise, played on the smoothness and arrest, the fluidity of color and the pause of a recognizable element. A sort of musical movement assists his painting, "An andante but not too much", the rhythm of a work, which foments abandonment and attention ".

The work is a sort of "mise en abyme": we look at someone who looks at an eye that looks at what we are looking at: a sequence that repeats itself over and over again, a "dream within a dream", a tautology in which language does not it never reaches the foundations of reality, because it always refers to another language, which in turn refers to another language, to infinity.

Politically committed to the defense of democracy and the environment, Beuys created in 1984 in Bolognano (in the province of Pescara), "Defense of nature" for Lucrezia De Domizio. The action, which sees the artist planting a tree, should not be understood only in an ecological sense, but must be read above all in an anthropological sense: defense of man, human values and creativity. The planting work will last for over four years: about fifteen hectares of land in the country will be fertilized and then planted on endangered trees and shrubs. In the afternoon the action moves to a large warehouse (the cellar of Baron Buby Durini), just outside the town. Two huge blackboards are set up in the background and are used by Beuys to visualize patterns and to introduce his discussion "Defense of Nature" in which he talks about the concept of creativity strictly connected to the social life of each individual.

The multiple of blotting paper refers to the Olivestones action, held in 1984 at the Castello di Rivoli in Turin, on the occasion of the "Ouverture" exhibition (organized by Rudi Fuchs to inaugurate the contemporary art museum). For this occasion Beuys uses five sandstone basins from Lettomanoppello (Abruzzo) from the 18th century. originally used to decant olive oil. However, he carries out a transformation, inserting blocks of the same stone but of a slightly smaller size, in order to create a gap of a few millimeters between their walls and those of the tanks. The five parallelepipeds are filled with about 200 liters of olive oil, which penetrates the stone until it is completely filtered, creating a patina on the surface that reflects the surrounding environment like a mirror. We therefore have on the one hand the crystalline material of the stone, rigidly geometric and, on the other, the organic and shapeless principle constituted by the oil: it is the tension between chaos and form, a necessary condition for the flow of life and creativity to be nourished. Olive oil cancels distances and creates continuity between the elements: it penetrates them and imbues them with itself, making two bodies a single reality.

“Artist of behavior” (A.B.O.), Kounellis works on the recovery of the poetic in myth using natural materials and primary elements that lead back to our origins, which are part of our land. Fire, wood, iron, coal, coffee and anything else realistically denote a link with nature and history. Objects that make us think of precious artifacts surfaced from distant civilizations. His works release energy, smells, noises: life and becoming materially enter the artist's work. As Germano Celant wrote, Kounellis has always practiced "Art as a shock and as a scream that searches for the point of fracture and boundary, where the fury of the individual passes through history and society, as opposition and criticism to the monstrous universe of conformism". The folder is made up of fourteen photographs that retrace the most intense moments of the ten years of exhibitions created by Kounellis in the Lucio Amelio gallery in Naples. The photographs were taken by Claudio Abate, Mimmo Jodice and Werner Kruger

Chiari is the main Italian exponent of the Fluxus group and one of the greatest Italian artists of the twentieth century. With a clear reference to the work of John Cage, he starts from musical research to arrive at the ritual and symbolic destruction, but partly also material, of the piano, the musical instrument par excellence, the emblem of all sonic conformity. His "scores", oriented on musical theoretical principles, consist of accurate instructions (not musical notes) which in general can be performed by anyone. Each object can be used as a musical instrument, the only decision is the will to make music and to act. The artist is of little interest if and in what way the music is received, the more important is the action that each one carries out on his own initiative. The FLUXUS work was created specifically for the MU.SP.A.C. during the meeting "The street and music" held in 1997 in the first location of the museum. The artist performed numerous performances for the occasion such as Gestures on the piano, an action that consists of composing sounds by touching the keys of the piano not only with the fingers, but also through the arms, elbows and wrists. In this way the whole body comes into contact with the musical instrument and the sound result is enriched with new meanings: the piano becomes the equivalent of the canvas.

The work is the photographic sequence (performed by Elisabetta Catalano) of the performance with the same title made for the first time in 1973: a girl dressed in a fascist uniform undresses and dresses many times. The body in costume marks the passage from the signifier to the signified: nature dresses and undresses itself with ideology.

The work is a multiple of the Fibonacci Tables, which the artist exhibited in Geneva in 1985 and represents perhaps the most complete idea compared to the author's cycle of tables, as it combines two discourses: the tables conceived as the architectural and object representation of the Fibonacci numerical series (identified in the thirteenth century by the abbot Leonardo da Pisa, nicknamed Fibonacci according to which each number is constituted by the sum of the two preceding it) and, visually, the spiral. Regarding the cycle of tables, the artist in an interview from 1981 (with Amman Pagè) states: "The idea of the table came to me for the first time while we were sitting, all together, in a restaurant. There was a photographer who first photographed one person, then two, three ... up to 55. It was a structure corresponding to the Fibonacci numerical series ... I therefore made a table for one person, for two people, then for three and so on ... what interested me is the physical side of the table, since the table is linked to man in a very organic way. The table is a raised, elevated piece of land ". All of Mario Merz's work focuses on the absolute predilection for the spiral form, understood as a mathematical and symbolic form: the spiral which, moving away from itself for infinite repetitions, reaffirms itself.

The work was created on the occasion of the Contemporary exhibition in Rome. The artist creates an unforgettable intervention for the city: "wraps" the Aurelian walls. His is a very strong provocation, an unusual way of bringing art to the city. But above all, it is the place to do the work: Rome, a sacred city and cradle of classical art, is invested with contemporaneity. Christo wants to draw attention to a process of metamorphosis, to the reality and mystery of the object, which today's world no longer allows us to see. His speech broadens the art audience by involving everyone, both those who work on the project and those who pass by. In this way he allows man to read reality in a different way, revealing what is not seen or what is not known to see. His works are negations: by packaging he excludes from view, but at the same time he emphasizes a landscape object or a monument, underlining the usual (now made invisible by habit) giving it a new meaning, giving it back a dignity that the improper use of society had denied it. .

Giuseppe Pietroniro's work intends to displace the viewer, posing the question between what the images show and reality. "It is as if I were creating a great illusion - explains the artist - The question I try to ask with my works is 'What is the reality: the one you live or the one they make you live?'. The rice paper, with the plans for an installation, is sandwiched between two Plexiglas plates, while the white perceived as a background is none other than the wall itself; it is as if the sheets - accidentally collapsed - ideally floated in the void, without any real support. A final visual deception, to tell the story of the controversial relationship between opacity and transparency, reality and illusion, visible and invisible.

In this work Gino Sabatini Odoardi deals with the theme of wine, a pregnant symbol in its transubstantial dimension, distorting its meaning, in a continuous fluctuation of meanings, a sort of illogical mysticism. The artist creates a geometric structure of shelves with fifteen glasses of glass on top containing a red liquid, technically made solid in order to create a trompe d'oeil: a solid that pretends to be a liquid that is about to come out of the glasses as if these were on an inclined plane. This testifies how art is continually in a state of precariousness, although it is able to defy any law, even the physical ones. As Alberto Boatto writes, the artist's intention "is to insinuate doubt, to question reality, to break the equilibrium on which our culture rests, unhinging our certainties, in a game of infinite mirrors, in a continuous reference without an answer . The target of his work is traditional thought, man's way of placing himself (and his constant need for confirmation) in the face of the unknowability of the world.

Claudio Asquini's photographic works, color prints from large format plates, made on the optical bench, are real tableaux vivants. As on a film set, the artist perfectly plans the position of the figures and objects, reconstructing atmospheres dense with tensions, ambiguous scenes with enigmatic characters, in order to induce a certain disorientation in the viewer, a feeling of waiting for something that should happen at any moment. As described in the presentation text by Augusto Pieroni for the Tainted Love exhibition (Nextdoor Gallery - Rome 2006), Asquini "works on the unspoken and the unseen, leaving a lot of space for the interpretation of the beholder and working on our curiosity to look for a a key to interpreting situations that are not entirely decipherable, in a dizzying dramatization of what is absent ".

The installation consists of five white shelves full of jars inside which we can find only white food materials. On the central shelf the words "don't wait for me for dinner". The irreverent installation wants to play on absence, thanks to materials such as glass, white wood, but also thanks to jars that, despite being full, do not seem so, as they are all filled with something white. It is a refusal, an evocation of the impossibility of participating in a party like that of Christmas, a work on subtraction rather than participation.

The work represents a Venetian canal where the buildings, the sky, the vegetation and the water are made up of numbers and corresponding Hebrew words. The path is closely connected to the biblical text through different concepts in turn linked to mathematics and kabbalah: "Emet" or TRUTH is the main concept in the pictorial text of the work, and is 441 equal to "Teva sheni" = second nature, to “taam” = to be similar (similar) and to “Lev avot” = the heart of the fathers (the tradition but also the construction, what the fathers built).

"The video consists of a series of photos taken sequentially in China and Argentina. Taking its cue from Eadweard Muybridge's scientific studies on movement, the work symbolically questions the direction the world is heading, inviting to choose between suffering injustices and acting in the first person. The title originates from one of the photos, the writing found on a wall in a very poor town in northern Argentina: "The government, businessmen and police will not pass over the our future ".

The work was performed on the occasion of the "Protraiti" exhibition held in 1999 at the museum. It is an “Emergence” made on wood, in which the layers of tempera color covered by Bologna chalk re-emerge, thanks to a work of subtraction and scraping with abrasive papers. It seems to be in front of a sketch, a sketch, an unfinished product while being instead a finished work. Colors explode in space and our task is to penetrate them abandoning ourselves to vision. Montani's talent is given by his scrupulous commitment to difficult operational procedures that almost entirely limit the use of the brush. Through a slow and meticulous movement, he distributes the color on the boards spread out horizontally, to finally arrive at the creation of masses, spots, shapes that fluctuate in space and time. Montani with his technique manages to arrange different temporalities in the same painting, in a single plane. In it the figures, rising from the colors, fly or advance with ancient gestures.