In the 1930s, Bruno Munari (1907–1998) experimented with ceramics in Tullio Mazzotti’s avant-garde workshop in Albisola, in the northwest of Italy. In his small ceramic Bulldog, 1934, curvilinear planes form the figure of an animal toy both tender and surprising, exemplifying the ironic air that runs through the practice of this artist-designer, who joined the second wave of Futurism in the late ’20s. Bulldog—the earliest work in this exhibition, “Ognuno vede ciò che sa” (Everyone Sees What They Know)—already reveals Munari’s wedding of methodological logic to imaginative freedom. His attachment