The exhibition was titled “Remo Salvadori. Nel punto immobile del mondo rotante”, from a line in a poem by T. S. Eliot, which for Salvadori suggests the theme of “staying.” The exhibition was organized around a Continuo infinito presente, 1985 (2016), placed on the floor of the nave in a central position with respect to the length of the building, and a large Nel momento, 1974 (2016), in lead and copper, set horizontally on the vault of the ceiling at a height of 22 meters; the setting thus reverses the traditional dichotomy between the form of the square, associated with the ground and stability, and that of the circle, connected to the celestial, aerial world. The two works represented the center of gravity of the exhibition, placed at the physical center of the church of San Giacomo, perceived by Salvadori during the first site visit as “a garment, the void of a garment.” . . . Not far from the central core of the exhibition stood Alfabeto, 2013 (2016): originally conceived to be installed on the façade of the church, the work was placed on the floor of the nave where one of its seven elements, the steel ring of Continuo infinito presente, was overlaid on a book about the history of Forlì, generating a concrete connection with the city. Verticale, 2000 (2016), placed in the apse of the church, with the chapels of the nave containing Girandola, 1993, Lente liquida, 1998, and Concavo convesso, 2006—a curved sheet of copper on which to put a ream of posters illustrating Alfabeto, which could be freely taken by visitors—“established a dialogue with each other and with the architecture from different and potentially complementary positions.”