"Myths of power collapse while the monuments which represent them crumble” Thus Marilena Bonomo introduced and justified the exhibition “Sculture da camera” (Chamber sculpture), yet another testimonial to the renewed interest in sculpture after years of its “splendid isolation” from critical consideration.

Forty-seven small sculptures, fragments from those crumbling monuments to which Bonomo refers, invaded two galleries of the classically appointed Castello Svevo. There were “historical” pieces, such as an untitled work from 1933 by Fausto Melotti, Piero Manzoni’s Linea Iunga m. 3,15 (Line 3.15