In 1964, he showed a group of seven new works made of plexiglass with photographs attached at the Galleria Sperone. The Wall [Il muro], for example, was a simple sheet of plexiglass that was propped against the wall. Double Ladder Leaning against the Wall [Scala doppia appoggiata al muro] was composed of two plexiglass sheets onto which photographs of the two halves of a stepladder had been transferred. Small Table with Record and Newspaper [Tavolino con disco e giornale] was a plexiglass parallelepiped onto which photos of a coffee table, a record and a newspaper were applied. The last two works had the same subject as two Mirror Paintings from the same period. This was a first step in the exploration, in real space, of the new phenomenological dimension created by the Mirror Paintings. In the text Pistoletto published in the catalogue, he also took a stand on the practice of using ordinary objects in art that had emerged in those years and made a first declaration on the ‘conceptual’ nature of art.

“I find myself inside the picture, beyond the wall that is perforated (though not, of course, in a material sense) by the mirror. On the contrary, since I cannot enter it physically, if I am to inquire into the structure of art I must make the picture move outward into reality, creating the ‘fiction’ of being myself beyond the mirror. [...] At the present time it is easy to play on the identity between reality-object and art-object. A ‘thing’ is not art; but the idea expressed by that same ‘thing’ may be.”
(M. Pistoletto, I Plexiglass, Galleria Sperone, Turin 1964)

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The Wall
Electric Wire Hanging on the Wall
Double Ladder Leaning Against the Wall
Electric Wire on the Floor
Red Sign on Plexiglass, on the Wall
Small Table with Record and Newspaper
Stack of Records