David Tremlett’s installation here was an enormous wall drawing in the third room of this gallery. To get there one had to pass through two other spaces, which had also been transformed by wall drawings, done by Pat Steir and Sol LeWitt respectively. The rooms are similar in size and architectural characteristics, typical of an apartment in the historic center of Rome, with wood ceilings, hexagonal floor tiles of black, gray, and red marble, and windows that open out onto terra-cotta roofs, and all three spaces were completely redesigned by the wall drawings.

Tremlett’s intervention functioned

From the beginning, Marco Bagnoli’s work has been based on the idea of inquiry. Unlike many of his contemporaries, Bagnoli has not sought to create an art of mere objects—that is, things that are observed and are thus the “objects” of our sight. He is more interested in the connections between subject and object, observer and observed. Bagnoli repeatedly distinguishes “sight” from “vision,” in written texts that are integral parts of his work, contrasting “the cone of sight” to the “sphere of vision,” while knowing that the former contains the latter. He has always followed paths that lead him