Within the gallery, Stefano Arienti created a forest. Senza titolo (Tulipanini) (Untitled [Small Tulips]), 1998–2003, was an installation piece, a sort of photomural landscape of tall trees with tulips blooming at their feet. The work is made up of twenty identical posters cut up into vertical strips of varying widths, then mixed together, juxtaposed, and superimposed to suggest a variation on the initial image. The final configuration, more than forty feet long, is thus the result of a process of decomposition but also of multiplication; it is simultaneously similar to and different from the

A small white canvas is barely defined by the diagonals and compass points that demarcate its space, like a sheet of paper prepared for a simple technical drawing for school: Giulio Paolini’s Disegno geometrico (Geometrical Drawing), 1960, marks the beginning of one of the most fruitful artistic and conceptual adventures in the recent history of art, in Italy and internationally. At the Fondazione Prada, this most conceptual of the arte povera artists—together with his “fellow traveler,” the curator Germano Celant—presented, along with Disegno geometrico, an extraordinary series of works executed