‘Taking a photograph in real time and space and then finding the mysterious link, the analogy or the subtle metaphor of the relationship between the exterior and formal world, and the interior subjectivity and informality of our conciousness, is certainly the most important contribution given by that current of American photography, which from Michals and White, through Adams, Weston and Strand, leads to Alfred Stieglitz. Stieglitz was a charismatic figure within the closed American art environment at the beginning of the 20th century. He gathered around him in New York a group of artists who soon after became the protagonists of the American cultural scene, thus preparing the boom after the second World War. Together with Gallery “291”, where artists like Cézan-ne, Rodin, Picasso and Braque first presented their works in the US, the magazine “Camera Work” was the most important instrument of debate available to Stieglitz and in its pages appear the works of the greatest artists from both sides of the Atlantic. “Camera Work” started the complex research which, under the esthetic categories of Objectivity and Equivalence, led photography to the full consciousness of its role in the system of visual arts. Minor White has been an exceptional artist of both words and images, as well as being a great publisher whose style recalled in many ways that of William Blake. Thanks to a conversation with Stieglitz, White started to devote himself to photography, perfecting the theory an d practice of the Equivalent introduced by Stieglitz. After White’s generation, Duane Michals renewed from the inside the language of photography, producing an original synthesis between Direct Photography and Pictoricism. The exhibition shows photographs by: Minor White, Duane Michals, Frank Eugene, Robert Demarchy, Gertrude Kasebier, Adolf De Meyer, Edward Steichen, Claren-ce Hudson White, Alvin L.Coburn, Frederick H. Evans, Alfred Stieglitz, David Octavius Hill, Theodor and Oscar Hofmeister.’