In the medieval spaces of Castel Sant’Elmo, Pino Pascali’s familiar work became once again surprising: first of all because the scale of this Pugliese artist’s works—at times large but never monumental—so easily sustained the amplitude of the spaces that contained them; and second, because on seeing the full range of his work—some forty pieces were on display—it seemed impossible that an oeuvre of such breadth could have been produced in so brief a time. The selection ranged from early drawings, created for Carosello (the evening time slot on Italian public TV devoted to