At the end of May Salvadori was the focus of another solo exhibition, this time in Genoa at the Locus Solus gallery of Vittorio Dapelo and Uberta Sannazzaro. At the entrance two paintings faced each other: Origine (here titled Stabilità e instabilità del colore), 1983, and Ecce Homo, 1985. . . . In the exhibition at the Locus Solus in Genoa the artist placed the canvas between two doors that open onto two rooms, in which to place other works in relation to Ecce Homo, as if the viewpoint was not positioned at the entrance to the gallery, where Stabilità e instabilità del colore was presented, but on the opposite side, generating a reverse perspective, as happens in Russian icons. In the facing room, on one wall the artist displayed Oggetto, 1985, composed of a circle generated by the uninterrupted weaving of interwoven metal filament. This work is the matrix of a typology developed by the artist from this moment onward, which from 1987 he indicated with the title Continuo infinito presente. . . . Finally, in the room to the left, on a door the artist placed an element formed by the intersection of two parts conceived in his reflections on the circle at the time, and at the center he set Visione 6, 1985 . . . [whose] title was later to become L’osservatore non l’oggetto osservato. The work is simply a tripod, a formal feature that appears at the start of the decade, presented here with greater thickness and at a height aligned with the vantage point of the artist.