‘The exhibition comprises 49 works (sculptu-res, reliefs, drawings and prints) by the artist George Segal, born in New York in 1925. Segal, who was in many ways close to Pop Art, started in 1961 to model his plaster casts directly on the human body, thus creating anonymous characters in the process of carrying out daily and banal actions. The characters are often placed in “scenic arrangements” which evoke domestic or urban environments through the presence of few real objects. The reliefs – particularly those of the series from the Me-tropolitan Museum of Art, which are all about the hand in different positions – are all about gestures; pages covered in “notes” which express the modesty of a hand on a breast, the impudence of a hand on a hip, the tenderness of two joined hands, and in which one can spot more analogies with the anatomy studies by Leonardo da Vinci, than with fragments inherited from a classical past. Although paper has a very different surface to plaster, it is a very useful material to draw sketches: the language is the same, what is different is the way of reflecting and playing with the light; paper seems fragile but it is well known that it can last for centuries. Segal’s aim is to reach a form of sculpting which can be both visual and intellectual. His sculptures are affirmations full of meaning for man in particular physical and psychological situations. Daniel Berger’