This great heap of contemporary German and Italian paintings, sculptures, installations, architectural models, films, coffee tables, corporate logos, photographs, steamroller tires, and other items of art and design came laden with ponderous ambitions and flying many colorful metaphors. Accord ing to Germano Celant, its organizer, the show was to have been a “jam session of the arts,” and the tip of a European iceberg of creativity—England, France, Greece, and so on being the submerged parts. It was to have provided a big peek into European culture’s “enormous house of dreams in which day and