By invitation of Tommaso Trini, he took part in Aperto ’82 in the context of the 40th Venice Biennale, which opened in June. Focusing on the work of artists not yet established in historical terms, the exhibition put the accent on the renewed centrality of painting on the contemporary art scene. . . .Salvadori presented two works, Anfora e modello, 1982, and Tre cerchi in movimento simultaneo (here titled Tre cerchi frontali e simultanei in scala e relatività), 1982, of which only the latter could actually be considered as close to painting. Anfora e modello is in fact a work of a sculptural nature, composed of multiple parts: a terracotta amphora, already in the artist’s possession for some time, and the cardboard silhouette of the Modello, 1978, shown at the gallery of Lucio Amelio in 1978, resting on one of the two handles of the vessel and supported by a wooden post. Salvadori’s aim was to suggest, through the juxtaposition of the two objects, the imagery of Saint Christopher, who upon meeting the Christ child, knowing nothing of his identity, carried the boy across the river on his shoulders. . . . Tre cerchi in movimento simultaneo is a large circular canvas, containing two elliptical forms—instead of one, as in the work shown at the Ala gallery a few months earlier— identified by different colors.