Developing a crucial question on which Renato De Fusco has
worked in plenty of his texts, this essay aims to investigate the
complexity of contemporary art in light of the socio-cultural crisis that opened in Europe at the beginning of the twentieth century and which records the fall of the former historical-philosophical securities in favor of a state of global in-security. The difficulty in understanding new forms of art is therefore seen in the
transition from the omni-comprehensive language of ancient art
(the so-called ‘multiple code’) to the current, fragmentary one
dealing with ‘many specialized codes’ that are born with relativism and are lost in anarchy of contemporary research.
