The exhibition continues with Tacchi’s sculptures of 1967, objetcpictures as the artist used to called them, yet they prevent all possibility of practical use, like the Poltrona inutile (Useless Armchair) or the large pictureless Frame from La Galleria Nazionale.
The renowned and extreme gesture of the Cancellazione d’artista (Artist’s Cancellation) that Tacchi made during the "Teatro delle mostre" festival at La Tartaruga in Rome in May 1968 is evoked by a "relic" displayed for the very first time at this exhibition.
The same room hosts the works he produced immediately after the Cancellation, in which his artistic language’s potential for communication is sorely tested with encroachments into a totally aphasic dimension.
He moved on from there to new phase which was epiphanic in nature and whose emblems, both dating back to 1972, are Painting, a photographic work realized by Elisabetta Catalano in which the artist proposes the diametrically opposite action to Cancellation, and a video, Il rito (The Rite), of a performance at the Incontri Internazionali d’Arte in Rome in which Tacchi reconsecrated the exhibition space by kissing it.
The last room hosts a bronze sculpture and large paintings produced since the 1980s, the successful expression of a new artistic language and of an artist who, paraphrasing the titles of his pictures, from being a Sécrétaire of painting and from being Uccel di bosco, is transformed and renewed, becoming the Spirito dell’arte.