Passatempo, 1992

• 1992, Turin, Galleria Christian Stein: on a plinth the artist's portrait is half-hidden by several sheets of blank paper and by glass shards, and it is contained inside a rectangle drawn in pencil on the sheets. The hourglass is placed at the centre of the plinth, in the area corresponding to the eyeglasses in the portrait. On the wall, on the long side of the display area, is a sequence of drawn squares and plexiglas cases. The case in the middle, in line with the plinth, hangs so that it is in a straight position and encloses another copy of the artist's portrait taken by Mussat Sartor. The portrait is upside down. The other cases, which are installed in a tilted position, contain images of the artist's hand as he makes Vedo (la decifrazione del mio campo visivo), 1969, or while holding some sheets. On the opposite wall, in line with the plinth (hence, opposite the overturned portrait), the fourth case, in the middle of the wall, arranged in a tilted position, and overlapping a square drawn in a straight position, is surrounded by squares with different orientations drawn in random order, associated in some cases with other images of the artist's hand in the process of creating Vedo.
• 1992, Paris, Galerie Yvon Lambert: the photographic documentation is missing.
• 1993, Paris, Galerie Yvon Lambert: the photographic documentation is missing.
• 1993, Zurich, Galerie Annemarie Verna: the installation resembles the one that was executed originally (Turin 1992), adapted to this exhibition space, however. Here, the fourth case and the squares drawn in random order are located on a narrower wall, perpendicular and adjacent to the longer side with the sequence of plexiglas cases and drawn squares.
• 1994, Genoa, Galleria Locus Locus: the limited exhibition space suggests the presence of just two cases on the wall, with no intervention in pencil. On the plinth, the artist replaces the blank sheets and the drawing with photographic records of some of his other works (Giovane che guarda Lorenzo Lotto, 1967, GPO-0140; Vedo (la decifrazione del mio campo visivo), 1969, GPO-0188; Elegia, 1969, GPO-0196) and of the 1985 solo show at the same Genoese gallery. This time the hourglass lying across the portrait contains green sand.
• 1997, Sabbioneta, Galleria degli Antichi: the entirely frescoed walls of the exhibition space impose the presentation of the work limited to the plinth alone, installed just as it was in Genoa in 1994 (detailed photographic documentation is missing).
• 1998, Graz, Neue Galerie: the artist again reformulates the installation of the portrait on a plinth, this time associated with fragments of colour reproductions of astral motifs (rather than the previous parts of images). The sequence on the wall develops along a single side of the room. The overturned portrait is left out, and the images of the artist's hand now appear to be associated with reproductions of the daytime or night-time sky (in colour) and of the open sea (b/w). In the area corresponding to the central cut-out on the front of each case is an hourglass featuring white sand and turned horizontally. The hourglass hangs down on the wall from a nylon thread.
• 1999, Turin, GAM Galleria Civica d’Arte Moderna e Contemporanea: the installation is the same as the previous one in Graz, adapted to the exhibition space. The sequence of drawn squares and plexiglas cases is developed on two opposite walls. The plinth is installed between the two walls, in a central position.
• 2013, Rome, MACRO: the work is only represented by the four cases, hanging from the wall in a straight position, and forming a quartet (2 x 2 units, with an 18-cm interval between them both in height and in width). Only one of the cases contains an hourglass, this one featuring white sand and turned vertically.
• 2020, Milan, Galleria Christian Stein: the installation of the work includes only the part on the base.