The work is a reflection on the complexity of making decisions and bringing them to completion; on the moments of life in which we feel in the balance. The barrel has the same size as the BoCs, citing the starting space offered by the citizenry.

On the occasion of his return to Cosenza Martina Roberts creates a canvas in which the color red is the dominant one. Not having started with a project already fixed, she opened to the stimuli that provided her with some simple objects (especially vases, elements that almost obsessively return in her artistic production) or the two-by-two conversations she listened to in the BoCs between the artists. , on the streets of Cosenza or in which she participated. Another cornerstone of his research emerges from the canvas donated to the BoCs Museum: fabrics.

The work consists of four portraits: two artists of Cosenza origin (Alfredo Pirri and Giuseppe Gallo) and two prostitutes registered in the police archives during the Fascist period. The images of the latter were found in a book by Matteo Dalena, published by the Cosentina publishing house Il filo rosso, entitled Antifascist whores in police papers.

In Cosenza Gabriele Arruzzo has a direct relationship with the territory, creating a work inspired by the doctrine of the abbot Gioacchino da Fiore. In the painting the reference to the Liber Figurarum (The Book of Figures) from which the figure is taken is evident, composed of three circles intersecting each other and ringed in a spiral, symbol of human history divided into three ages (the age of the Father, the age of the Son, the age of the Holy Spirit) according to the Trinitarian theology of the Calabrian monk.

The artists of the July residence collectively produce a functional work. An object, like the swimming pool, which gave real refreshment to the artists during a very hot period of residence, now exhibited to also recover its aesthetic and documentary value.

Marco Pio Mucci's comic-work consists of three tables that reproduce some scenes from the film “The Godfather”, a 1972 cinematic masterpiece signed by director Francis Ford Coppola. The subject of the drawings is Michael Corleone, a member of a Sicilian family considered one of the most powerful mafia organizations in post-war New York. Mike on the death of his father Don Vito will become the new godfather at the head of the criminal empire of the Corleone family. In Mucci's drawings the protagonist is portrayed in some “poetic moments” that show his human side, now involved in amorous situations now while he is confessing at an old age with a priest. The artist focuses on the figure of the gangster to suggest a general reflection on the man of the past anchored to some values, such as faith and love, which today are being lost.

Hernandorena's installation is the result of the artist's journey from France to Cosenza, a transition made of explorations and discoveries in which colors, smells, wind, rain define his relationship with the landscape and architecture. There are numerous references to the sky and the stars - such as those painted on the vault of the church of San Francesco d'Assisi - and to the color blue. The installation is made up of different elements that interact with each other, but sometimes the connection remains deliberately obscure.

For this work with the newspapers Corriere della Sera Colin made use of the collaboration of resident artists and curators, like him, at BoCs Art in November 2018, asking them to design the cover or front page of a "fake Corriere della Sera" on the real uncut sheets of the Corriere della Sera for which he worked as art director. In this he wanted to confirm his poetics of collaboration on the one hand and on the other his real collaboration with Corriere della Sera, especially at the Sunday supplement, reading, for which he invites artists to design the cover. But if there the cover is printed and multiplied, in this work they are all unique pieces and therefore closer to the idea of art. In this way, a short circuit is created between truth and fiction that has always been at the center of the debate in the printed media.

Having learned of the Italo-Albanian communities that populate the province of Cosenza, Fusi proposes for BoCs Art a diptych depicting a couple of characters: two rigidly posed girls in rich Arbereshe costumes. It seems clear that the young women, although dressed according to the tradition of the ethnic-linguistic minority, with their platinum blonde hair do not belong to this culture. The two ambiguous girls, with a glassy and absent gaze, fit into a theatrical setting that, framing them, almost cages them