protagonist in the most radical research in the field of the visual arts, Agnetti may be considered the leading Italian exponent of conceptual art, characterising at least a decade of international visual culture.
After a brief period of exploring informal art, in 1960 Agnetti embarked upon an intense activity as writer and theorist of contemporary art, supporting artists such as Piero Manzoni and Enrico Castellani, and such groups as the Azimuth, active in Milan in the early 1960s.
At the end of the decade, Agnetti continued his theoretical reflections on art, its role and languages, but shifting his attention to the actual production of art.
Agnetti’s works are proposals of a mental nature. Frequently, they involve a self-analysis based upon a comparison of image and word, aiming to verify the function of verbal and visual languages. The numerous invitations he received to international exhibitions like Documenta at Kassel, in 1972, and to various editions of the Venice Biennale, gave Agnetti a recognition that placed him at the same level as artists involved in the “deconstruction” of artistic languages, such as John Baldessari or Joseph Kosuth in the United States, or Daniel Buren and Victor Burgin, in Europe.
His premature death at the age of 55 prevented Agnetti from maturing the form of his art, which in the last years was returning to a manual approacj, but modified by the use of photography.
Curated by Achille Bonito Oliva e Giorgio Verzotti