In 1973 and 1974, Mauri worked on a group of artworks consisting of desecrated holy wafers, to which he transferred the word ‘End’ or ‘Ende’ in transfer letters. The title Ostia di vero grano senza Dio plays on the combination of the meanings ‘true’/’without’ encapsulated by the word vero in Italian, an intensifier and negation that, rather than reinforcing the meaning, evokes doubt.1 These artworks are presented in small, numbered series that differ in format, central inscription and the paper used.

1. The doubt is corroborated by comparison with other works by the artist, often titled with phrases aimed at causing short-circuits of meaning. For example, in the introductory text to the ‘Senza’ projection cycle, the artist writes: ‘“Without” because “With”. As in “Without art” and “Without ideology”, the content of the action belies the title: nothing is foreign to art».’ Similarly, the word ‘vero’ (true) appears in titles of works that demonstrate the opposite, such as Vera cera ebrea (Real Jewish Wax), Veri pattini di Anna Cittherich di Varsavia eseguiti con lei stessa (Real Skates of Anna Cittherich of Warsaw Made with Herself) or Vera foto di Fabio Mauri. Ritorno dalla missione 21/1/1972 (Real Photo by Fabio Mauri. Return from Mission 1/21/1972).