For fifty years Enzo Cacciola has got us accustomed to a substantial monochrome. Behind this visual unity, however, the motivations are many and varied over the years. If his beginnings recount of analytical painting, and if his colors are the non-colors of materials – such as light gray concrete or pink asbestos – chosen according to the most rigid canons of “conceptual” painting, over the years he added to this sort of “contemplation of color” some sort of geographical variant introducing almost sentimental impulses into his recent works. In fact, Cacciola created the works on display during his travels to distant places, such as Argentina or Cuba, where he collected pigments and real earths – lava earth, or the mud of some river, for example. He then spread them on canvases, almost always en plein air. This simple action produces monochromes that are sometimes imperfect, wrinkled, almost like telluric sediment, but above all it deliberately adds the sense of travel and the image of the artist who chooses a "place" where he can make art. The formal result may therefore resemble that of the heroic period of analyticity in painting, but the thought is completely different and, once revealed to spectators, gets them to see completely different works.