In January 1973 a solo exhibition opened at the Galleria Toselli. On a wall, Salvadori placed six slate slabs (Janus, 1972) printed with a photograph showing Carmen Lugnani and her brother Peter as Janus Bifrons. . . . On each slab of slate, under the image of Carmen and her brother, can be seen a phrase connected with the theme of the work: duplicity, temporality grasped in the dichotomy between beginning and end, the relationship that is established between multiple individualities. The opposite wall presented twenty-six watermarked papers (Filigrana, 1972) with the same image, each assigned one letter of the alphabet. Placing the works to face each other, between the paper and the slate a contrast stands out, both chromatic (white-black) and substantial in nature (lightness-weight), taking concrete form in a different functioning as a support: “Slate is a material that has a specific behavior in its use as a support, connecting its utilization in a parallel existence, without interferences. The only reality that changes is the energy of the information stored. The support is a constant and indifferent presence in the neutrality of its specific function, as the basic unit it gathers and orders the signs, demonstrating the will as mythology of the initial sign,” while “the paper automatically gathers an arrangement dictated by the use made of it in private and general experience: in the watermark the support and the information coincide.”