The 1960s and ’70s were marked by interdisciplinarity. Yet artists whose work was too interdisciplinary often suffered, as viewers and critics found it difficult to situate their output within a well-defined linguistic territory. In recent years, we have witnessed a series of rediscoveries and reevaluations of figures (think of Ettore Sottsass or Gio Ponti) working during that period whose efforts spanned many disciplines, inhabiting a sort of no-man’s-land. The work of Milanese Davide Mosconi (1941–2002)—an artist who moved fluidly among music, photography, and design—might be considered