Three life-size figures were placed on pedestals shaped in some cases like rocks, in others like tree stumps. Around the sculptures, the gallery walls were decorated with wallpaper bearing a marine motif: a digitized photographic image of waves melting into the horizon. Tony Matelli effaced the reality of the room to open up an imaginary world located someplace far, far away. And so, like shipwreck survivors on an island of dreams, we were invited to give ourselves over to fears, anxieties, and feelings of abandonment, but also to curiosity and a sense of mystery. The three figures, all highly

Monumental yet intimate, this new installation by Jannis Kounellis was a gigantic labyrinth of 143 vertical iron panels, each about eight feet tall, surmounted by a layer of coal. The work invaded the two vast entry halls of the Galleria Nazionale, almost completely obscuring the architectural space, but was illuminated by natural light from above, which was reflected by the comers of the iron sheets and modulated into infinite shades of gray. The work never touched the surrounding walls, maintaining an existence independent of its environment.

There was a single entrance and exit from the