At first glance, this might have seemed to be an unfinished exhibition, its installation still under way. “Maybe it’s better to stop by later,” one might have thought. The installation, Massimo Bartolini’s Organi (Organs), 2008, stood at the back of the gallery space as if in an apse: a strange scaffolding, made of tubular metal beams like those that cover the facades of buildings under construction or renovation. The iron framework had six levels and reached almost to the gallery ceiling; it was like a spider’s web. The classic function of scaffolding was undermined by the anomalous arrangement

Stéphanie Nava’s “Considering a Plot (Dig for Victory)” was a garden of innumerable drawings and various agricultural objects. There were no flowers pictured, only vegetables, since the artist was inspired by the small urban gardens promoted in the 1940s in England by the “Dig for Victory” campaign to combat wartime food shortages. The artist’s imaginary garden invaded the entire room and was delimited by wooden barriers and, in some stretches, by thin cords; within these enclosures, drawings faithfully reproduced many varieties of vegetables. Some of these sheets progressed in a slight curve,