The exhibition is divided into about 30 works selected in twenty-five years of the artist's production. The exhibition itinerary, not marked in chronological order, is, in effect, a sort of anthological exhibition.

For those who know Vitali's work it will be important to find the sunny Italian beaches full of people on vacation (1995), but it will also be a surprise to see, for the first time ever, the shots of Jovanotti's concerts in his last Italian tour. of 2019.

Massimo Vitali's work aesthetically draws on the history of art and not only that of photography. Italian of origin, Anglo-Saxon by training and with an international vision and attentive to the evolution of avant-garde research at the turn of the last century and the current one, the artist appears as a photographer inclined to leave no traces in his works of moments linked to identifiable historical facts. His world, extremely frozen and crystallized, appears as if suspended in a cinematic still image. There are never any identifiable details with current historical facts, except for the titles which, at times, refer to crowded gatherings or evenings of fun in the disco.

His work appears as a consequence of an "enlightenment" period, where places are recorded that, beyond their geographical, landscape or atmospheric interest, are immortalized for what they are and "captured" by an algid and precise eye for quantity of details and details illustrated up to paroxysm. The buildings are restored in all their identity and architectural physicality; the mountains are resumed, however impossible, down to the last rock and lichen; the beaches and sand dunes, softened by the reflections and shadows perceptible up to the horizon. Like Canaletto and much of eighteenth-century painting, his eye captures every detail and transfers it to photographic paper in a realistic and analytical way.

The atmosphere - to be clear, the Leonardesque one of the nuance and the spatial perception of the nebulization in the air of water and dust - is non-existent in his photographs. Everything is defined.

As in Canaletto, the stickers then play parts of a comedy written in a choral way, the people appear as directed by a director off stage and obey predefined dictates even if in an obviously unconscious way.

Everything is projected on a screen in which the protagonists act, like educated actors, parts intended for them by contingent facts.

The titles of the works tend to confuse the viewer as if the artist had intended, for the people portrayed, precise parts and roles as a leading actor.

In works such as De Haan Kiss (2001), in which two boys in the foreground exchange a kiss, or in Cefalù Orange Yellow Blue (2008), where there are colorful swimsuits, it is chance that determines the title of the work. decided in post production after a careful review of the photograph.