Agostini, “... who began his artistic career as a photographer, fell in love with landscapes closed off by doors à la Tapiès—only to better conceal them, to keep them ’under lock and key’...”. He works on photography with manual-painterly interventions.

Cravera, on the other hand, uses photocollage, “... employing it in a way that is clearly in step with these post-chronological and post-journalistic times, cleansing his assemblages of all manuality”.

Through a focus on the work of these two artists, Marco Senaldi raises points regarding the “economy and politics of the gaze”, posing questions and weaving together reflections on the present. “...Where does the gaze go? Where does its pragmatic site fall?”