Michelangelo Pistoletto’s most recent—and most extraordinary—work is entitled La Giuria (The Jury), 1962–2006. A large mirror with a photographic image silk-screened onto its surface, more than thirty feet in length and eight feet in height, the piece almost entirely covered the longest wall of the gallery. This large reflective surface, divided into eight sheets, neither rested against the wall nor touched the floor, unlike nearly all his earlier mirrors, which merge mimetically with the space their reflection duplicates. Approaching visitors were kept at a distance thanks to the large white

For the past ten years, black-and-white, quasi-geometric figures—with round, bright eyes, long noses, and toothpick-thin arms and legs—have peopled the work of Fausto Gilberti. He has painted them on canvas and inked them onto photographic backdrops taken from the pages of newspapers and glossy magazines. Until now, however, the “omino” (little man), as the artist calls the recurring figure, always remained stark black and white. But as the title of his recent show, “Materia grigia” (Gray Matter), suggests, Gilberti has added a new color: gray, in all its many hues. As a result, the little man