The Istituto dei Ciechi, the Institute of the Blind, is smack in the center of Milan. It was here that Swiss artist Urs Fischer chose to set his first solo exhibition in Italy (under the aegis of Fondazione Trussardi). The two grand spaces in the central portion of the nineteenth-century building—a large vaulted hall, which was on this occasion divided into two sections by the inclusion of a slightly raised platform area, and a former chapel with an apse—was an ideal setting for his two large installations Jet Set Lady, 2005, and House of Bread, 2004, and one small sculpture suspended in space,

As is often the case with exhibitions by Tobias Rehberger, here again the viewer was confronted with ambiguous works that hover between utilitarian object, architectural project, and autonomous work of art. The entrance to the first room contained an affectionate homage to Martin Kippenberger: drawn in spray paint on the wall, the by-now-unmistakable silhouette of Kippenberger’s sculptural self-portrait Martin, Go in the Corner, Shame on You, 1989, with its title also spray-painted on the wall. On the opposite side of the same surface was a completely different sort of intervention, the prototype

Through a reinterpretation of the legend of Salome and Saint John the Baptist, Ottonella Mocellin and Nicola Pellegrini staged the complex exhibition “Together Forever,” a story of conflicts. They reinterpret the tale as a love story experienced from two irreconcilable, and therefore anguished, perspectives. Thus the installation was divided into two parts. The first, at the center of a room with red walls, featured a music box, Never Far Away (all works 2005), with a ballerina spinning to the notes of Louis Armstrong’s rendition of “What a Wonderful World” while holding a head on a plate. The