Léa Lublin, “Untitled”, 1977 (detail). Private collection, Naples. On loan to Madre · Donnaregina contemporary art museum, Naples. Photo © Amedeo Benestante. | Léa Lublin, “Untitled,” 1977 (detail). Private collection, Naples. On loan to Madre · Donnaregina contemporary art museum, Naples. Photo © Amedeo Benestante After moving with her family to Argentina, Léa Lublin (Poland, 1929 - Paris, 1999) attended the Academia Nacional de Bellas Artes in Buenos Aires between 1941 and 1949, beginning 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 contact with the young French painters of the period. However, it was after his return to America that his research changed radically, opening in the following decade to a new research itinerary. In fact, since the mid-1960s, Lublin has gone beyond the two-dimensionality of the canvas to open up also to various media solutions, in particular on the performance, environmental and video sides, in which the participatory request of the public and the overcoming of the boundaries between art and life. Back in 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 from 1968, he 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 the 'gender identity as privileged coordinates of his own work, while since the end of the decade he has also created sensory and participatory environments (Terranauts, 1969). - including Polilogo Exterior from 1974, an imaginary dialogue between the artist, his gallery owner, a critic and a writer, and the Interrogations surarte project, begun in 1974 and completed in the 1990s - and disciplinary crossings, always carried out 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 Lucio Amelio Gallery (Dante's hand or the screen), created some aphorisms on art on fabric (Untitled, 1977), which he installs on the walls of the gallery but which also disseminates in the open space, from the external gate of Villa Pignatelli to the base of the poet's statue in Piazza Dante, involving space and public dynamics in his own questions about meaning, consciously multiple and intimately relational, of doing artistic.