The revolutionary love of Anna Maria Maiolino, meant as a sort of free and courageous energy, oozes out of the works of the Italo-Brazilian artist who, for her first monographic exhibition in Italy, has chosen the PAC in Milan. A selection of over 400 works - from the drawings of Maiolino’s youth as an art student in Caracas to her latest works - welcomes visitors to the largest retrospective ever dedicated to the artist, with works on display from Brazil’s most important museums, from the Museum of Modern Art in Rio de Janeiro to the Pinacoteca of the State of San Paolo. The artist who knew how to marry Italian creativity with Brazilian avant-garde comes to Milan with sculptures, paintings and photographs that tell of a decades-long career beginning in the ‘60s and still vital today. Greeting the visitors at the exhibition - where, for the first time, one can admire the large paintings of the ’90s - is a site-specific installation completely fashioned out of clay. In the work of Maiolino, the word “gesto” (roughly translated “gesture”) - which comes close to the latin word gestare, in its original sense of moving forward, elaborating and composing ideas in a succession of events similar to an epic poem - assumes a powerful significance. The “gesture” returns in a series of embroidered works and others of china ink, as well as sculptures in glass, plaster and cement. Among the iconic works on display, there is Por um Fio and Entrevidas. The first depicts Maiolino sitting between her mother and daughter, united by a rope in their mouths. The second, born out of a performance in Rio de Janeiro in 1981, depicts the egg as a metaphor for precariousness, of coexistence between life and death, but within the iconography of the artist, more a symbol of hope and renewal.