The installations by Bonomi and Cella fully enter the urban context, transforming some well-known and obvious-looking places into surprising realities full of stimuli and new visions. "Matter determines the forms of art", and this is true in all senses because the visible surface of the works dresses content, establishing a direct relationship with them.

In this widespread exhibition the materials they are made of make them easy to read, in the sense that they accentuate their "difference" from the place with which they relate, but at the same time they speak more easily about themselves and their meanings which are revealed with lightness even if articulated and deep. Moreover, the works of the two artists draw on a "modern" collective imagination made up of high culture and pop acquaintances, in which comic albums, film visions, advertising videos, TV series, newspapers, magazines but also a lot of history, and stories, of art have left their traces in a thousand forms.

Both in a double interview granted a few years ago to the question "What is the work you would have liked to do? The most beautiful in history, and why? " they responded by citing a work by Duchamp. Different works ("With secret noise", the most philosophical; "The box in a suitcase", the most unusual) and for different reasons, but both products of a mind that has made intelligence, reflection and even irony the vital matter of one's art.

As in Duchamp, the works of Bonomi and Cella are verb-object propositions in which the title is as important as the "thing done". It is precisely on the incommensurability between words and images, but on their requesting each other, that the conceptual meaning of certain works is at stake which by "exposing themselves" make us reflect on their status and on the tools that humanity has given itself to know and possess the world he lives in. The characters of Cella have similar unnatural but “true” proportions of bodies and certain ugliness is rendered, thanks to the resin and industrial colors, with a beauty that is both artificial and genuine. Their stereotyped mimicry seems almost a way to exorcise the real discomfort that quite another mimicry would produce. Bonomi's compositions, on the other hand, bring with them the practical beauty of the object of use made of industrial plastic, what Bruno Munari called "beauty as a function". A warning, perhaps, to review the categories of what we have chosen as companions in our daily life.

In all these installations there is certainly a subtle irony but also a brazen sincerity and the smile they cause has nothing to do with a coarse laugh, on the contrary it is the sign of the surprise one feels in front of a game of intelligence and art that reveals paradoxes and contradictions, that is truth about oneself and about the "things of the world".

Fabrizio Parachini