While Italian scholarship is now beginning to recover the legacies of Maria Lai (1919–2013), Ketty La Rocca (1938–1976), Lisa Ponti (1922–2019), Nanda Vigo (1936–), and the subject of this exhibition, Marinella Pirelli (1925–2009), the unique positions of these figures within the defined trajectory of art movements remain precarious. Redressing the neglect of women’s contributions to Italian art opens a view onto the complexity of cultural life on the Apennine Peninsula, particularly during the postwar era, when the Communist Party was larger than in any other Western democracy, yet the Fascist