“Disegni e sculture” (Drawings and sculpture) brought together some one hundred of Roberto Barni’s pieces dating from 1980 to the present. This title is less minimal, less banal than one might think. It refers to the duality of drawing and sculpture, which, since the Renaissance, has been one of the fundamental premises of the theory and practice of the plastic arts. However, Barni places this relationship within a surrealist and metaphysical context by disordering the cards, leaving only ruins, fragments of the unitary, exalted aspiration of Classical totality. In his work from the ’80s, the