Upon entering Vittorio Corsini’s recent show, one saw the top portion of a house suspended upside-down from the gallery ceiling, its roof covered with brick tiles that are typical of Tuscan architecture. A faint yellow light was shining through a window that was visible in one side of the structure. In the next room one encountered Deposizione (Deposition, all works 1997), a beautiful chandelier crafted by the artist from Murano glass, which was illuminated and delicately stretched out on a sawhorse. The gallery’s third space contained a shelf arrayed with several quotidian objects—a glass, a