Michelangelo Pistoletto was born in Biella and grew up in Turin, where he experienced art at a young age by frequenting his father's (who was also an artist) restoration workshop. One defining feature of all Pistoletto's work is the involvement of the viewer. In the Quadri specchianti – at the start of our museum journey – the viewer is automatically involved in the work and this attaches new meanings to the art. It's not just about observing, the viewer participates. And is reflected. In every sense. Next, we find works emblematic of Arte Povera, for example Venere degli stracci (Venus of the rags) (1967), and such installations as the Labirinto (1969), an intricate cardboard labyrinth that doesn’t conceal but instead reveals the exit, with an old historic work at the centre Pozzo- cartone e specchio (well - cardboard and mirror) (1965-66). The next room contains video, photographs, posters of various theatre shows and collections from the seventies demonstrating the artist's desire to take art away from institutions and bring it among the people. Advancing through the years and spaces, we arrive at a large reflective table, which faithfully reproduces the shape of the Mediterranean basin, surrounded by chairs from different countries and cultures (Love Difference - Mar Mediterraneo, 2003).