The exhibition provokes a fragmented, sometimes cryptic dialogue between fifty or so artists who are more or less recognized, or even not known at all.

Structurally conceived as an invisible city, in reference to Italo Calvino’s 1972 book, the exhibition is discovered in the same way as Tamara’s city in that book, by “streets bristling with signs that come out of the walls,” where “the eye does not see things but figures things that signify other things.”