This retrospective, curated by Marco Bazzini, showcased Emilio Isgrò’s multiform creative process in all its richness and variety—presenting an oeuvre that, for over half a century, has been based on the encounter between word and image. Isgrò’s artistic journey began in the early 1960s, with his fictitious “Titoli di giornale” (Newspaper Headlines), 1962–64, in which he drew on his professional experience as a journalist to reflect on the ways in which current events are treated by the media, the mechanisms of distortion underlying that information, and the coexistence of truth and falsehood

Jeff Elrod’s work exploits some of the possibilities offered by digital graphics yet still maintains a traditional visual apparatus. At first glance, it even seems to exemplify a familiar type of abstraction that is cold and formally very composed. In fact, his extremely large canvases are made using an ink-jet printing technique, with marks typical of various computer programs (MS Paint, Photoshop, Illustrator) enormously enlarged so viewers can see the sequence of rectilinear strokes that make up every type of curve. Not everything in his work, however, is digital; in the long process that