In February 1981, the Galleria Pieroni in Rome held an exhibition that was fundamental for the artist’s career, with the first appearance of the subject of the tripod, initially titled L’osservatore si sposta osservandosi and then L’osservatore non l’oggetto osservato. Il libro bianco, 1981, welcomed visitors at the entrance to the show, anticipating its role as a tool for what was to follow. The volume opened with the plan of the site, again indicating an intense dialogue between the artist and the space; the next pages contained the reproduction of various drawings related to the works in the show, until reaching the image of a tripod that supported, at the top, the plan of the Galleria Pieroni. The subject of the tripod is also the protagonist of a work that was titled L’osservatore si sposta osservandosi, 1981. This consists in a sheet of metal that stands on its own thanks to its curvature, thus creating a container with one concave and one convex side. On the latter is placed a transparent sheet featuring the figure of a tripod. . . . The meaning of the Osservatore, as we have seen, is rooted in the itinerary that led to the creation of Modello, namely the attitude of self-observation while taking a given pathway; in Salvadori’s words: “It means asking oneself questions about oneself: the

observer moves, observing himself”.