A girl sits before a mirror. Her makeup and accessories are laid out on a small table; behind her, to the right and left, two hanger rails hold her personal wardrobe. The performer puts on makeup, dresses up, undresses, dresses up once more in different accessories, oscillating between different possibilities of herself, in a continuous disguise and change of image. Senza Titolo was first presented in 1992 at Studio Casoli in Milan, along with re-enactments of Ebrea (inv. 3476) and Ideologia e natura (inv. 3324). ‘The theme was the current disappearance of the body, as the basis of identity, transferred into simulacra, into a multitude of coverings. The body is no longer the first text through which to demonstrate violence, passion, thought. Considered alongside older performances like Ideologia e natura or Ebrea, this performance turns out differently. Nudity is a period costume. It erases itself as the ultimate datum of reality-truth. It undergoes a seemingly external transformation through the multitude of signs, hybridisations and potential disguises contemporary society continually offers. The body becomes a dummy of the body.’1

1. F. Mauri, ‘Senza titolo’, in Fabio Mauri. Opere e azioni 1954–1994, catalogue of the exhibition (Galleria Nazionale d'Arte Moderna e Contemporanea, Rome), edited by Carolyn Christov-Bakargiev, Marcella Cossu, Editoriale Giorgio Mondadori e Carte Segrete, Rome, 1994, p. 259.