“The exhibition, curated by Mark Godfrey, is divided into four sections, each presenting a unique perspective on Pascali’s work, and unfolds through three buildings of the Milan venue: the Podium, the Nord and the Sud galleries. The set design, conceived by 2×4, includes forty-nine works by Pino Pascali from Italian and international museums and distinguished private collections; nine artworks by prominent post-war artists; selected photographs portraying Pascali with his works and a video.” — Fondazione Prada 

As Mark Godfrey writes in his exhibition catalog essay, “Pascali explored the relationship of sculpture and stage props, and contrasted sculpture with functional objects. Works that looked from a distance like readymades revealed themselves close-up to be constructed from found materials. Pascali thought about what a ‘fake’ or ‘feigned’ sculpture could be. He titled pieces as if they were solid masses, winking to his audiences who knew they were empty volumes. He used the natural elements of earth and water alongside construction materials like Eternit fiber cement panels and divided his seas and fields into units with repeated measurements. Pascali brought new consumer products and synthetic fabrics to the studio to fashion animals, traps, and bridges. There is no doubt whatsoever as to the complexity of his approach to sculpture, and yet the genius and originality of his contribution lies somewhere else. Pascali is important today because he was an ‘exhibitionist’. […] Pascali recognized that the postwar artist had to devote as much of their energies to exhibition-making as to refining their work in the studio.”