The enigmatic title of this exhibition, “Selvatico (colui che si salva)” (Savage [He Who Saves Himself]), refers back to Leonardo da Vinci; the exhibition itself had the force of a political statement, albeit one made in the form of somewhat surreal but modest photographs. A few large-scale images looked out at each other from the gallery walls, while one wall contained a large number of small works. At the entrance were Vendesi tavolo (Table for Sale), 2007–2008, an image of a broken table, clearly the enlargement of a reproduction, and Fototessera di spalle (Passport Picture from the Back),

In this complex yet amusing exhibition, “Studiolo Nuovo,” which Lia Rumma installed in Milan after showing it in her space in Naples, Clegg & Guttmann take as their point of departure the Renaissance studiolo, or study—a private place, crowded with diverse objects, and specifically set aside not so much for the contemplation of art as for the development of thinking. Works of art were kept in these spaces, but so were musical and scientific instruments and natural objects. In this environment, seeing was inextricably linked to thought. Painting, Leonardo said, is a mental thing; Clegg & Guttmann