Claudio Pieroni’s installation here, Pulpito (Pulpit, 1989), was deceptive. At first glance it brought to mind a dialogue between the artwork and the space, as well as the cold, minimal language that characterizes the last generation of Italian artists. But the piece was a trompe l’oeil, like many that Pieroni uses in his work. The large structure (a pulpit in iron supported by imposing columns and topped by a large grating covered with stones) might recall the euphoria of neo-Minimalism, just as the column of metal screens—filled with river stones—might bring to mind both a certain poverismo