Various reasons make Carla Accardi (Trapani, 1924 – Rome, 2014) one of the most significant figures in 20th century art. After the Second World War she contributed to the affirmation of non-figurative art in Italy by promoting the abstract group Forma (1947), the only woman in an entirely male group; in the 1950s he developed the poetics of the sign establishing himself among the protagonists of Michel Tapié's Art autre; in the following decade he introduced the use of a new transparent plastic material, sicofoil, and abandoned tempera in favor of colored and fluorescent paints, opening his research to optical and environmental effects.

After the seventies, marked by a marked commitment to social activities and feminism (with Carla Lonzi and Elvira Banotti in 1970 she was one of the founders of Rivolta Feminine), she went through the eighties and nineties of the twentieth century and arrived at the new millennium with a renewed interest in painting by constantly developing his own language made up of signs and chromatic juxtapositions. The Museo Correr initiative falls close to the centenary of the birth of the artist who, despite having lived in Rome, has established, throughout his life, a constant link with Venice, both on an individual and professional level. Among other things, in 1948 he made his debut at the Biennale returning in 1964 (personal room introduced in the catalog by Carla Lonzi), in 1976, in 1988 (personal room) and in 1993 also appearing in the 2022 edition.

Works, photos and other documentary material attest to her relationship with the lagoon city including an image from 1952 when, on the occasion of an exhibition at the Galleria del Cavallino, she visited the Guggenheim collection with her husband, the artist Antonio Sanfilippo, and Tancredi Parmeggiani. The Venetian project curated by Pier Paolo Pancotto, as a tribute and not an anthological exhibition, presents, in the form of an installation, a small selection of works placed in dialogue with the historical environments of the museum. It is a small number of works, rarely visible but, despite their particularity, wholly indicative of the artist's research and, in their own way, summaries of his creative path.