In Enzo Cucchi’s recent exhibition entitled “Roma,” the “eternal city” supplied the imaginative core around which the various works were arranged. The show was divided into two parts: five large paintings displayed on the walls, and 66 tiny panels and canvases strung like tram cars along steel wires fixed diagonally from the floor to the ceiling. Though the little paintings in their wooden frames were fixed to the cables, the impression given was one of great dynamism. I don’t believe, however, that this was intended as a true “installation,” but simply as another way of hanging paintings. For

In Enzo Cucchi’s recent exhibition entitled “Roma,” the “eternal city” supplied the imaginative core around which the various works were arranged. The show was divided into two parts: five large paintings displayed on the walls, and 66 tiny panels and canvases strung like tram cars along steel wires fixed diagonally from the floor to the ceiling. Though the little paintings in their wooden frames were fixed to the cables, the impression given was one of great dynamism. I don’t believe, however, that this was intended as a true “installation,” but simply as another way of hanging paintings. For