Enrico Castellani’s recent show, a survey of works dating from 1958 to the ’90s, demonstrated that he has produced one of the most significant bodies of work in Italy since the war. It was with a small-scale canvas Superficie nera (Black surface, 1959) that Castellani found the path he has followed up to the present: using a precise system, he drives nails into the underlying frames of his canvases at varying depths. With this method he turns monochrome canvases into pulsating membranes or labyrinths made dynamic and flexible by the varying angles of light striking the surface. This process is