In June the artist was invited to show work at documenta 7, the international exhibition held every five years in Kassel, Germany. As decided by the curator Rudi Fuchs, the event had no title, no theme, with the aim of representing contemporary art without classifications. [...] Salvadori chose to present the tripod and canvas shown at the Ala gallery at the start of the year, with the addition of a large untitled painting, Senza titolo, 1982, a further meditation on the theme of circles in simultaneous movement, and Cerchio, 1982. Displayed for the first time, Cerchio is composed of a wooden circle—the outermost part of a Berber drum belonging to the artist, which was broken during a festive evening—containing two overlaid canvas cutouts, and a brush with the tip colored red, inserted in a hole of the drum’s structure and converging towards the center. The internal element formed by the two portions of canvas, through an intervention in gold leaf on the smaller one with an elliptical form, placed over the upper extremity of the larger semicircular canvas, is an initial reference to the figure that would later be indicated as a “cup.”