Come la mia prima mostra, realized in 1972, presents four black geometric forms suspended against a pale, warm ground: a triangle, a square, a parallelogram, and a circle, each mounted on a small brass pin that locates the shape precisely within the field. The work is understated yet rigorously constructed, the matte black of the painted wood playing against the quiet luminosity of the board beneath it. The forms are elementary, almost pedagogical in their simplicity, yet their arrangement resists any single reading, inviting sustained attention to proportion, interval, and the relationship between figure and support. Spalletti belongs to a generation of Italian artists whose practice emerged in the early 1970s in dialogue with Minimalism and Arte Povera, though his sensibility is distinctly his own. Where Arte Povera embraced the tactile and the contingent, Spalletti sought a more meditative register, one concerned with surface, light, and the phenomenological experience of color and form as they act upon perception over time. The title, which translates roughly as "Like My First Exhibition," carries a quality of tender self-awareness, situating the work within a personal and art-historical narrative while deflecting any grandiosity. The shapes are those of a primer, the most basic vocabulary of form, yet their presentation within the frame elevates them into something genuinely contemplative. This piece dates from the very beginning of Spalletti's exhibition career and represents a foundational statement of his concerns. The physicality of the shaped and painted wood, attached to the board rather than simply depicted on it, gives the work a quiet objecthood that anticipates the relief qualities present throughout his subsequent practice. The cool formalism of the composition is offset by a warmth of material and palette that keeps the work from feeling austere or remote. For a collector, Come la mia prima mostra offers both historical significance as an early work by one of Italy's most quietly celebrated postwar artists and an enduring visual presence that rewards long acquaintance, its apparent simplicity concealing a refined intelligence about the nature of form, surface, and the act of looking itself.