Maurizio Nannucci began making art in the early ’60s, and since then he has unfailingly analyzed language in its communicative capacities. All Conceptual art—the category in which Nannucci’s work can be included—begins with the desire to contextualize the “gesture” of Marcel Du-champ. This requires that the viewer verify the mechanisms of legitimization of the art system. Nannucci has done this by experimenting with the most diverse media that the system supports: artist’s books, records, performance, and mail art. This retrospective brought together all those experiences as a single and new