In this exhibition, as in a classic 17th-century picture gallery, the color photographs of Michael Clegg and Martin Guttmann (all from 1986) were installed on the walls in two horizontal rows: still lifes above, large-format portraits below. It may seem paradoxical to apply a reference to 17th-century painting to the work of these two young New York photographers, but the images presented in this show are indebted to that particular social and artistic period.

The subjects in the portraits are posed according to specific formal conventions. In some of these, their eyes are turned toward the

“The Last Supper,” 1986, a series of silkscreened canvases, is Andy Warhol’s last work. It is also the most complex work that he produced in the years after his celebrated silkscreen prints of famous personalities. This time the subject is a famous painting, perhaps the most famous of all: Leonardo da Vinci’s portrayal of the goodbye supper of Christ and his Apostles, The Last Supper, 1495–98, in the church of Santa Maria delle Grazie here in Milan. It is ironic that the exhibition of Warhol’s variations on this farewell scene opened just a few days before his death.

Warhol’s “Last Supper” is

Bruno Munari, with his constant experimentation with an enormous range of materials and in all fields of art, has always worked somewhat outside the mainstream of Italian cultural currents. He uses the tools of technology, adapting them to his particular brand of disorder and to the fresh use of natural materials, which he often treats as if they were archaeological finds. This Milanese artist began his exuberant career in the late ’20s as part of the second period of Futurism, producing abstract paintings that focused on the relationship between color and geometric outline. These were followed

A heart (Cuore), a fluted wax candle (Candela), a small wall (Muro), a piece of twisted and broken branch (Ramo), a dog’s dish (Ciotola per cani), some men’s toiletry items (Oggetti da toeletta), a truck (Carro), the landscape of an alpine valley with agricultural-industrial settlements (Paesaggio), a leather ottoman (Puf marocchino), a car (Macchina), a vase (Vaso), a small, posed, naked woman (Donna), a chalet (Casa), a crow (Uccello)—all of them black-rubber artifacts that represent, in the words of the artists, Peter Fischli and David Weiss, “the average life of Swiss man.” These sculptures,