FOR ONCE, the Prada Foundation did not have to transform its space: The extravagance typical of the foundation's exhibitions, was, in this case, achieved by the works on display alone, thanks to the technical wizardry evidently required to create them. Indeed, in the works made for this occasion, Marc Quinn's propensity for a certain magniloquence seemed to confirm the desire for effect so apparent in earlier work that it became a factor in his reputation as one of England's most “sensational” artists.

Continuous Present, 2000, is a large stainless-steel cylinder with a reflective surface and a

IN MARGHERITA MANZELLI'S new, large-scale oil paintings, space becomes an abstract plane of monochrome color, kindled by acid yellow or deep green light. In the four works exhibited under the title “Un cielo senza fine” (An endless sky) float bent-over female bodies, wan figures almost suffocated by the pervasive and blinding light, which accentuates their hieratic isolation. Fragile figures emanate uneasiness and dissatisfaction; harsh glances fixedly engage the eye of the viewer. Livid and bleak environments marked by a nervous and difficult subjectivity, a tension contracted in the bodies