Léa Lublin, "Untitled", 1977 (detail). Private collection, Naples. On loan to Madre · museum of contemporary art Donnaregina, Naples. Photo © Amedeo Benestante. | Léa Lublin, "Untitled," 1977 (detail). Private collection, Naples. On loan to Madre · museum of contemporary art Donnaregina, Naples. Photo © Amedeo Benestante.Transferred with his family to Argentina, Léa Lublin (Poland, 1929 - Paris, 1999) attended the Accademia Nacional de Bellas Artes in Buenos Aires between 1941 and 1949, starting to explore a distant pictorial language both from realism and from the geometric abstraction of Concrete Art. The experience of studying in Paris, starting in 1952, with Gustave Singier at the Académie Ranson, put her in touch with the young French painters of the period. However, it is after returning to America that his research changes radically in the next decade, opening up to a new research itinerary. In fact, since the mid-1960s Lublin has gone beyond the two-dimensionality of the canvas to open up to various media solutions, in particular on the perfomance, environmental and video aspects, in which the participatory role of the public and the crossing of the borders between art and life.Returned to Paris, and strongly influenced by feminism, the artist works on the perceptions of behavioral and relational models in art and in everyday life. In one of his first performances in Paris, Mon Fils of 1968, transforms the environment of the Musée d'Art Moderne de la Ville de Paris into a domestic space where he takes care of his seven-month-old son, identifying social life and gender identity as privileged coordinates of one's work, while at the end of the decade he also creates sensory and participatory environments (Terranauts, 1969). The following years are characterized by works that link the elaboration of a critical thought related to the discourse on art - including 1974 Polilogo Exterior, imaginary dialogue between the artist, his gallery owner, a critic and a writer, and the Interrogations sur dell'arte project, which began in 1974 and completed in the 1990s - and disciplinary crossings, always operated in the a sign of a dimension of artistic commitment and constant attention to the theme of individual and collective memory: Presente suspendido. Marcel Duchamp in Buenos Aires 1919-1991. Objets perdus / Objets trouvés.In line with this research, in 1977, Lublin, on the occasion of the solo exhibition at the Galleria Lucio Amelio (Dante's hand or the screen), made some aphorisms on art on fabric (Senza titolo, 1977), which he installs on the walls of the gallery but which he also disseminates in the open space, from the external gate of Villa Pignatelli to the base of the poet's statue in Piazza Dante, implying space and public dynamics in his own questions on the meaning, knowingly multiple and intimately relational, of doing art.