The enormous space of the new Fondazione Prada headquarters was divided in two, longitudinally, by a large red curtain. On one side was a movie theater with 120 Mackintosh chairs organized in rows in front of a large white screen edged in black at top and bottom. Two spotlights illuminated the word FINE (“end”) printed on the screen; at its bottom right Francesco Vezzoli had embroidered the signature of Pier Paolo Pasolini. Vezzoli’s exhibition was conceived entirely in relationship to Pasolini and two of his films, the documentary Comizi d’amore (Love Meetings, 1965) and Salò, or the 120 Days