In this last room is visible the last Still life (1964) to be painted and signed by the artist that was left on the easel as an epilogue or possible opening anticipating a new development, in a linear and disordered composition in which rigour is poetry, simplicity reveals essence. All the elements of the mature Still lifes - colour, form, mass, light, space, shadow and setting -  become little more than suggestions. The outlines drift into each other in a fusion of light and colour. But the object remains in the artistís memory and on the canvas as a stable, primary form, the founding element of a poetic that never breaks away from reality. In the drawing too, which also dates from 1964, all pretext of objectivity in the depiction seems to disappear, yet the few lines traced on the paper clearly evoke the same objects as in the last painting, sensed, recognisable and persistent: proof of absolute fidelity to the model and an explicit declaration of the illusory nature of appearances. The theme of the object always present and visible despite its dissolving, returns in a work entitled Eroded landscape by a British sculptor, Tony Cragg, in which the glasses, bottles and vases transcend their function by appearing in an ephemeral yet lasting physicality. In this work, which is both majestic and precarious, the artist realises a delicate play of balances, with panels of concrete and glass on which stand fragile containers of sand-blasted glass. The material appears as solid as a dream and the object remains present despite its evanescence.