摘要：The combination of single material elements characterises Nespolo’s artworks since the 60s. The primacy of art factuality - to do art manually - emerges both in his geometrically structured works and in his machines and wooden uniconic structures. These are all combined and based on the strategy of puzzle and on a reflection about the mental attitude to do art. For these reasons, it is possible to consider Nespolo as a forerunner of Conceptual Art.
