It's a common occurrence for any respected anthology. Understandably so, since there's nothing more unbound and anarchic than an artist's journey. Thus, it's not surprising that the exhibition of Ferdinando Ambrosino — a painter with a career spanning over half a century — raises the usual questions. Should one adhere to a philological criterion, organising works by individual research themes and chronology? Or should the focus be on the outcomes of the latest period, showcasing more mature paintings that simultaneously resonate with the tastes and sensibilities of newer generations? Furthermore, should the exhibition document the trajectory of a long journey,