Working in Genoa is particularly significant. The city has witnessed the passage of many of the neo-avant-gardes: from the Gruppo Letterario '63 driven by writer Edoardo Sanguineti; to the presence of visual poet Rodolfo Vitone, publisher of Marcatre magazine; to art historian Eugenio Battisti, a professor at the University of Genoa; and finally, Arte Povera. In fact, the first exhibition by the fledgling movement founded by Genoa-born Germano Celant was held at Trentalance and Masnata's Galleria La Bertesca. This at a time — the 1960s — when private galleries were replacing public ones in spreading the contemporary art culture, as too did Paolo Minetti at the Galleria Il Deposito, a Genoese gallery that commissioned Gordon Matta Clark's only Italian work.
Operating in this area, on the very edge of the cultural empire, is praiseworthy and demanding particularly because of the disinclination of the Ligurian people — in which I include myself — for anything new. Bonacossa has made an encouraging start with her first two exhibitions; but only time can show their effectiveness in both curatorial terms and consensus.
Operating in this area is praiseworthy and demanding particularly because of the disinclination of the Ligurian people for anything new
