For her second solo show in Rome, Ursula Mayer chose a classical theme—the story of Medea—on which she proposed a series of thematic variations. The exhibition was divided into two parts, one consisting of a 16-mm film, Last Hours of Ancient Sunlight, 2009 (which also lent its title to the show), and the other a group of separate works that nonetheless seemed to comment on the film’s themes.

The film is a double projection: On the left, we see details of an ancient bas-relief depicting Medea, the enchantress who killed her own children to take revenge on her husband, Jason, after he renounced

Visitors to “The Wandering,” Nicola Pecoraro’s third solo show but his first in Rome, ideally should have experienced the exhibition with a sound track in the background, perhaps of the sort of electronic genre one hears a lot of now, a mix of natural elements and cold, synthesized sounds typical of the hybrid culture of our time. Pecoraro’s exhibition was similarly hybrid, not so much because he uses various media (painting, sculpture, photography, collage), but rather because of the ways in which the works suggest personal narratives or metaphors without falling back on the convention of the