Symbol of the artist's futurist sculptural production aimed at reproducing the speed and strength of dynamism in art, the original work is in plaster. The bronze copy was produced only after the artist's death at the behest of Filippo Tommaso Marinetti, founder of the Futurist movement.

The painting became part of the Milanese Civic Collections in 1992 with the important acquisition of the Jucker Collection with which the museum was enriched with a nucleus of works from the International Avant-garde of the twentieth century.

The portrait of Béatrice Hastings represents the artist's return to painting after the sculptural parenthesis and the so-called "cubist" phase. Cézanne's suggestions are now outdated to give way to a personal expression of pictorial rendering.

Paul Guillaume, collector and patron of the arts, is portrayed in a pose that recalls a series of photographs taken in 1915 in Modigliani's atelier. The particular attention to the physiognomy, the almost sculptural plastic rendering and the Cubist lexicon in the angled lines of the face make the work one of the artist's most important.

The protagonist of the painting, isolated from the context and framed in a dizzying perspective from below, is the Westkapelle lighthouse near Domburg. The work belongs to a "Munchian" neo-impressionist phase.

One of the artist's most significant works, Elasticità represents all the figurative elements typical of Futurist painting: the movement of the horse in the foreground and the depiction of progress with a glimpse of the factories in the distance.

The work represents Paul Klee's artistic vision aimed at the balance between sign and color in a synthesis between expressionism and abstractionism. The artist reduces a landscape to a set of signs and to an interweaving of structure, figure and bird's eye perspective.

The portrait of Virginia Procida is the first work by the artist purchased from a public collection. The painting is influenced by the pointillist teachings of Maestro Giacomo Balla, the color is spread in small and fast strokes.

An arabesque of fluorescent light, made up of dozens of hand-bent tubular segments, winds for one hundred meters suspended with steel cables: the Neon structure, designed by the artist for the 9th Milan Triennale, envelops Piazza Duomo in a luminous embrace , urban landscape symbol of an entire city, pulsating center of the life of the Milanese.

“The work of the Embroidered Map (by Afghan women) is for me the height of beauty. I didn't do anything: the world is made as it is and I didn't design it, the flags are what they are and I didn't design them, when the basic idea emerges, the concept, all the rest is not to choose” is how Boetti describes the series of Mappe works, among the most famous of his production.