Luigi Carboni’s recent exhibition confirms his commitment to the painterly discoveries of optical experience. Here, as in his earlier works, Carboni’s production seems to lie between the geometricized, antimimetic, and antinatural realm of Modern art and the desire to communicate via direct, naturalistic, quasi-linguistic means. In Carboni’s earlier paintings, the dichotomy between the visual and the narrative is evident in his juxtaposition of various combinations of numbers and letters set on monochromatic grounds, with the simple grids, squares, and circles in which they were presented. While