Alfa (Un autore senza nome), 2004

• 2004, Venice, Fondazione Querini Stampalia: the crystal polyhedron contains the colour reproduction of Chardin’s young man associated with a group of planets reproduced on acetate and divided into four parts, placed close together on adjacent sides of the volume, so that they recompose the image. The round shape “blown” by the young man is situated at the exact centre of the polyhedron. Moreover, some blank sheets are placed to the sides of the volume, with reproductions of planets or a circular cut out evoking in negative the shape of a planet. Scattered all around on the ground are other details of planets reproduced on acetate in different tones and arranged on torn blank sheets, as if they were “soap bubbles” that have exploded from the central nucleus. The polyhedron is located in the central area of the room, surrounded by four armchairs (borrowed from the furnishings of the room), turned in various ways to recall a “conversation scene”.
• 2009, Naples, Museo Archeologico: the polyhedron (this time in plexiglas to replace the original one that was too heavy to move) contains seven photographic reproductions of the artist’s hands while he is making Vedo (la decifrazione del mio campo visivo), 1969, or holding a blank sheet or a pencil (some of the photographs are arranged in twos), as if to literally bring to life his attempt to touch what is unknown. The volume is set down on three sheets of plexiglas of different formats and arranged so that they are staggered. For the exhibition the work was arranged at the centre of the room, corresponding to the extreme end of the Meridian set in the floor.
• 2013, Rome, MACRO and 2014, London, Whitechapel: the polyhedron, placed on two staggered sheets of plexiglas , contains the cut-out image of Chardin’s young man, reproduced on a plexiglas round, and nine linear drawings of squares and circle, they too reproduced on plexiglas rounds (three of them are next to the young man, the others are farther down on a plexiglas sheet).
• 2015, New York, Marian Goodman Gallery: the polyhedron, set down on three staggered plexiglas sheets, contains the same elements as in Rome and London, but with the addition of a crystal ball. The work is installed in front of a wall which includes a new complementary intervention: the hint of the diagonals of a hypothetical large square drawn in red pencil on the wall, which at the centre includes an empty plexiglas case, featuring, analogously in the area corresponding to the vertices, the hint of the diagonals, outlined in red pencil on the wall.
• 2020, Torre Pellice, Tucci Russo: the configuration of the polyhedron remains the same with respect to the previous installation, while the intervention on the wall is omitted because it is considered unsatisfactory.