“I work with a T square and compass” is the title Vettor Pisani has given to the rooms in his show. He brings into play elements found in his other work, such as archetypal figures and an austere use of the rational, the measured.

The central characters in this show-ceremony are two of the builder saints from the Roman basilica of the Santi Quattro Coronati (Four Crowned Saints), who hold up as emblems the very T square and compass cited in the title. They are patrons, then, of the dialectic between the straight line and the curve, of the existential tension between the logical order of reason

Gino de Dominicis’ work takes the space itself as its subject, examining it along three different lines—physical, projected, symbolic—that interact simultaneously.

On the level of immediate observation, one is struck by the unusual division of space in the gallery, which is cut from floor to ceiling by a section of a steel cage that isolates a portion of the room. The space created inside and outside the barriers is the physical level on which one relates to this enigmatic and disquieting work. It is presented as a void, but set apart. The immediate question, then, is who and what is behind or