Michelangelo Pistoletto was born in Biella on 25 June 1933, the only child of Ettore Olivero Pistoletto (1898–1981) and Livia Fila (1896–1971). His father, a painter from Gravere, in the Susa Valley, moved to Turin in the 1920s to further his artistic training. During an extended stay in Biella, where he produced several works – including a cycle of murals on the history of wool production for the Ermenegildo Zegna wool mill in Trivero – Ettore Olivero met Livia Fila, whom he married in March 1932. A year after Michelangelo’s birth, the family moved to Turin, where his father continued to paint and opened a restoration studio.
From an early age Michelangelo learnt the fundamentals of drawing and painting from his father. On Sunday mornings, he often accompanies him on his customary visits to the Galleria Sabauda in Turin, whose displays included works from the Riccardo Gualino Collection: icons, gilded altarpieces, medieval wooden sculptures and Flemish still lifes that made a lasting impression on him and would significantly influence his later artistic production. At the age of fourteen Michelangelo began working with his father. His study of painting and practice of restoration gave him a thorough knowledge of the Western artistic tradition, particularly religious and Renaissance art, the Baroque and landscape painting.
At the age of nineteen his mother enrolled him at a recently opened advertising school in Turin directed by Armando Testa, one of Italy’s most innovative and prestigious graphic designers. About a year later, Pistoletto starts running a Turin-based advertising agency, which he continues to manage until 1958.
Contact with the world of advertising – then highly attentive and receptive to contemporary art – encouraged him to frequent Turin’s galleries, whose programmes during the 1950s offered an exceptionally up-to-date overview of international contemporary art.
In 1955 he began exhibiting the results of the research into self-portraiture that characterised his early painting throughout the second half of the 1950s.
That same year he married Marzia Calleri, who between 1962 and 1966 would be the subject of several Mirror Paintings. Their first daughter, Cristina, was born in June 1960. She would later pursue a career as a soprano and performer and collaborate with her father on several occasions over the following decades.
In 1960 he held his first solo exhibition at Galleria Galatea in Turin. That same year he produced a number of life-size self-portraits against monochrome gold, silver and copper grounds. In 1961 he created the series entitled The Present, painting his own figure against a black ground made reflective by a layer of transparent varnish.
In 1962 he developed the technique with which he began producing his Mirror Paintings: a photographic image was enlarged to life size, traced by hand onto tissue paper and painted, then applied to a sheet of mirror-polished stainless steel. From 1970 onwards, and definitively from 1973, the painted tissue paper was replaced by a silkscreen process through which the original photographic image was transferred directly onto the reflective steel surface.
The Mirror Paintings were first exhibited at Galleria Galatea in March 1963. Shortly after the exhibition, his contract with Galatea was taken over by Galerie Sonnabend in Paris. Through the partnership between Ileana Sonnabend and the New York gallerist Leo Castelli, Pistoletto was represented by Sonnabend in Europe and Castelli in the United States – two of the most prestigious and influential galleries of the period.
Between 1963 and 1965 he participated in important European exhibitions devoted to Pop Art and Nouveau Réalisme. Throughout the 1960s he also held solo exhibitions at prestigious galleries and museums in Europe and the United States: Galerie Sonnabend, Paris (1964); Walker Art Center, Minneapolis (1966); Palais des Beaux-Arts, Brussels, and Kornblee Gallery, New York (1967); Museum Boijmans Van Beuningen, Rotterdam, and Albright-Knox Art Gallery, Buffalo (1969).
In 1964 he exhibited a group of works known as the Plexiglass at Galleria Sperone in Turin. They represented the first translation into real space of the new dimension opened up by the Mirror Paintings, while also constituting a declaration of the conceptual nature of art.
Between December 1965 and January 1966 Pistoletto produced and exhibited, in his home-studio – a former printing works to which he had recently moved – a new group of works entitled Minus Objects. Created through a working process shaped by the contingent nature of time, with each work differing from the next, almost as though they formed a group exhibition, the Minus Objects radically challenged the dogma that an artist’s work should be stylistically recognisable like a standardised commercial brand. These works are regarded as fundamental to the emergence of Arte Povera, the movement theorised by Germano Celant in 1967, of which Pistoletto was a precursor and a protagonist.
From March 1967 onwards he carried out actions outside traditional exhibition spaces. In December of the same year he announced the opening of his studio through a manifesto. Invited to participate in the 1968 Venice Biennale, he published the Manifesto of Collaboration. Within this context the Zoo was formed, a group of people from different artistic disciplines with whom Pistoletto carried out, between 1968 and 1970, actions conceived as creative collaborations.
In November 1967 Pistoletto met Maria Pioppi in Rome. She moved to Turin to live with him and from then on became his companion in life and work. Their twin daughters, Armona and Pietra, were born in September 1971. Both would become involved in their father's artistic activity over the following decades.
Between October 1975 and September 1976 Pistoletto created a work lasting one year, divided into twelve consecutive exhibitions and entitled Le stanze (The Rooms), at Galleria Stein in Turin. It was the first in a series of complex works, each developed over the course of a year and called “continents of time”.
In 1976 he published One Hundred Exhibitions in the Month of October, a small book describing one hundred ideas for works conceived over the course of a single month, many of which he would realise in subsequent years.
In March 1978 he held an exhibition at Galleria Persano in Turin, presenting two fundamental directions in his research and subsequent artistic production: Division and Multiplication of the Mirror and Art Takes on Religion. That same month he began a year-long stay in Berlin as a guest of the DAAD Artists-in-Berlin Program, during which he presented a retrospective exhibition at the Nationalgalerie and in thirteen public sites across the city.
Between 1979 and 1980 he presented a series of solo exhibitions, installations and actions in several cities in the United States. In this context he created Creative Collaboration in Atlanta, an extensive creative collaboration spanning the entire city. Together with artists with whom he had previously worked – the actor Lionello Gennero, the musician Enrico Rava and the composer Morton Feldman – and members of his own family, he involved local artists from different disciplines. In 1979 Creative Collaboration continued in various locations, particularly in Corniglia, Liguria, with whose inhabitants he would later stage Year One at the Teatro Quirino in Rome in 1981.
In 1981 he exhibited The Nativity at Galleria Salvatore Ala in New York, the first group in a body of sculptural work in rigid polyurethane that he would produce during the first half of the 1980s. In 1984 he presented a number of these works again, in marble and on a large scale, in his solo exhibition at the Forte di Belvedere in Florence.
From 1985 to 1989 he created a new cycle of works entitled Art of Squalor, consisting of surfaces and volumes in “anonymous material” whose dark, sombre colours seem to absorb light like black holes and occupy an indeterminate territory between painting and sculpture.
The black that characterised Art of Squalor gave way in 1989 to Anno Bianco (White Year), a “continent of time” comprising ten different stages in Pistoletto’s activity over the course of the year, conceived as a Mirror Painting or as blank newspaper pages ready to receive the images of the year as it unfolded.
In 1991 Pistoletto was appointed Professor of Sculpture at the Academy of Fine Arts in Vienna, a position he held until 2000. Together with his students he developed an innovative program aimed at breaking down the traditional boundaries between artistic disciplines.
In 1993 he initiated the phase entitled Segno Arte, based on an idea conceived in One Hundred Exhibitions in the Month of October (1976). Alongside producing a series of works united by a form adopted as his own Segno Arte, he invited other people, on various occasions, to create and present their own Segno Arte.
In 1994 he launched Progetto Arte. Through a programmatic manifesto, public meetings, events and exhibitions involving artists from different disciplines and representatives of broad sectors of society, Pistoletto placed art at the centre of a socially responsible transformation.
In 1998 Cittadellarte – Fondazione Pistoletto was inaugurated in a disused factory in Biella acquired by the artist in 1991. There, the aims expressed in Progetto Arte continue to be developed and put into practice.
In 2000 he created the Multiconfessional Place of Meditation at the Paoli-Calmettes Institute in Marseille, conceived and realised by the artist in collaboration with local representatives of different religions.
In 2002 he was Artistic Director of the “Turin International Biennial of Young Art”, entitled Big Social Game. That same year he received the Diploma of Merit for Culture and Art from the Presidency of the Italian Republic.
In 2003 he was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale. The same Biennale presented Love Difference – Artistic Movement for an InterMediterranean Politic, a project launched within Cittadellarte in April 2002, for which Pistoletto created a large mirrored table in the shape of the Mediterranean basin. Many of the activities of Love Difference would take place around this table over the following years.
In 2004 the University of Turin awarded him an honorary degree in Political Science. On that occasion the artist publicly announced the Third Paradise, whose symbol is a reconfiguration of the mathematical sign for infinity conceived by him in 2003. From that moment onwards, the Third Paradise increasingly became, for Pistoletto and Cittadellarte, a work developed through a dense network of relationships and collaborations involving countless partners – individuals, associations, organisations and institutions – active not only in the arts but across the widest range of sectors in society, assuming the dimension of a large collective and participatory work.
In 2007 he received the Wolf Foundation Prize in Arts in Jerusalem “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world”.
In 2009 he presents the performance-installation Twentytwo less Two at the Venice Biennale, the best-known work in a series based on the breaking of the mirror, developed in parallel with the Black and Light series, begun in 2007, and followed, from 2014 onwards, by the Color and Light series.
In 2010 he published the essay The Third Paradise, which appeared in Italian, English, French and German. In 2011 he served as Artistic Director of “Evento 2011 – L’art pour une ré-évolution urbaine” in Bordeaux. In 2012 he initiated Rebirth-day, the first universal day of rebirth, celebrated every year on 21 December through events organised around the world and giving rise to an extensive international network of Third Paradise Embassies. That same year he was appointed Grand Officer of the Order of Merit of the Italian Republic.
In 2013 the Louvre hosted his solo exhibition “Année un – Le paradis sur terre”. That same year he received the Praemium Imperiale for Painting in Tokyo.
In 2014 the symbol of the Third Paradise was installed in the atrium of the headquarters of the Council of the European Union in Brussels during the Italian Presidency of the Council.
In October 2015, in the park of the Palais des Nations in Geneva, headquarters of the United Nations, Pistoletto created Rebirth, a work consisting of a large Third Paradise symbol formed by 193 stones, one for each UN Member State. Also in 2015, the first Rebirth Forum took place in Havana, a major workshop bringing together art and politics through the involvement of organisations, businesses, associations and institutions. The Forum placed the seventeen Sustainable Development Goals of the United Nations 2030 Agenda – adopted by Member States that same year – at the centre of its activities. These goals would remain a constant point of reference for the Rebirth Forums organised in subsequent years in various cities.
In 2015 Pistoletto and Edgar Morin published Impliquons-nous. Dialogue pour le siècle, a book presenting an extended dialogue between the two authors. The Italian edition was published in 2019.
Also in 2015, the Universidad de las Artes in Havana awarded him an honorary doctorate “for his contribution to contemporary art and his influence on several generations of artists”. The following year, the Brera Academy of Fine Arts awarded him an Honorary Academic Diploma in Communication and Art Education.
In 2017 a reconfiguration of the Third Paradise symbol was chosen as the logo of the VITA space mission. During the mission, photographs taken by the astronaut Paolo Nespoli were shared through the SPAC3 app to create a collective planetary artwork. That same year his text Ominiteismo e Demopraxia. Manifesto for the Regeneration of Society was published.
Between 2018 and 2020 Pistoletto was particularly active in several Latin American countries (Mexico, Chile, Peru, Argentina and Cuba), with numerous initiatives, solo exhibitions and a major exhibition as Guest of Honour at Bienalsur in Buenos Aires. During these years he also received several distinctions: in 2018 the Roswitha Haftmann Prize in Zurich; in 2019 honorary degrees from the Academies of Fine Arts of Lecce and Catania, together with the Order of Minerva from the University of Chieti; in 2020 the Clavis Palafoxiana Prize in Puebla, Mexico; in 2021 the Lorenzo il Magnifico Lifetime Achievement Award at the Florence Biennale; and in 2022 the Artis Suavitas Prize and the Cultura+Impresa Prize.
In 2021 the Universario was inaugurated at Cittadellarte, an exhibition space in which the artist presented his most recent research relating to the Formula of Creation. In December 2022, his book The Formula of Creation is published (in Italian and, in 2023, also in English and French), in which he retraces and re-examines the entire development of his artistic research and theoretical reflection in the light of this principle. The publication of the book gave rise, throughout 2023, to an extensive programme of conferences and debates in various venues, including a series of lectures at the Louvre Museum in Paris.
From 2023 onwards, a new body of work began to be presented in a number of exhibitions, for which Pistoletto coined the term Metaopera. Through these works he explores the possibilities offered by new technologies such as QR codes and artificial intelligence.
That same year Preventive Peace assumed particular importance in his work. Pistoletto had first formulated the concept in 2003, in response to the invasion of Iraq, which at the time was justified as a “preventive war”.
During 2023 he received numerous distinctions, including the Premio Presidio Culturale Italiano, the titles of Socio emerito SIEDAS and Accademico d'Onore of the Accademia di Belle Arti di Napoli, the Premio Internazionale Leoncino d'Oro, the Premio Europeo delle Relazioni, the Premio Ecologia Città di Varese, the Premio La Ginestra and the Premio Le Pagine della Terra. In 2024 he received further distinctions, including an honorary degree from the Accademia di Belle Arti di Foggia, the Premio Centrocot of Busto Arsizio, the Premio De Sanctis Europa per l'Arte and the Grand Prize for Lifetime Achievement of the Osten Biennial in Skopje.
During 2024 Pistoletto began a series of dialogues with representatives of different religions. These led, in 2025, to the establishment of an Interreligious Table for Preventive peace founded on art and to the exhibition “U.R.-R.A. – Unity of Religions – Responsibility of Art” at the Reggia di Monza, followed in 2026 by the exhibition “Franciscus. Fratello in Arte” in Assisi. Two books on the relationship between art and spirituality were also published in 2025: Spiritualità, an extended dialogue between Pistoletto and Father Antonio Spadaro, and Dio x Caso. Un affaccio sull’ignoto, written by Pistoletto with Ruggero Poi and published in both Italian and English.
In recognition of his longstanding commitment to dialogue and peace, Pistoletto was officially nominated for the Nobel Peace Prize in 2025. That same year he received the Citizenship Award and the Premio De Sanctis per la Sostenibilità, and was awarded the title of Doctor Honoris Causa by the Athens School of Fine Arts.
In June 2025, at the Palazzo del Buongoverno – a new Cittadellarte venue inaugurated on that occasion – the Constitution of Statodellarte was presented, proposing a new civic and political model founded on the Formula of Creation as its guiding principle, Demopraxy as its method and Preventive peace as its aim. In 2026 Statodellarte was presented in Bologna in the exhibition “Dalla Cittadellarte allo Statodellarte”, while Cittadellarte hosted the first session of the Chamber of Statodellarte, its deliberative body.
During the first half of 2026 he received the Umanizzazione e Cura Award from the Biella branch of LILT, the Albertina International Award conferred by the Albertina Academy of Fine Arts in Turin and the Mani della Pace Award at the Mandela Forum in Florence.

He has participated thirteen times in the Venice Biennale (1966, 1968, 1976, 1978, 1984, 1986, 1993, 1995, 2003, 2005, 2009, 2011, 2017) and four times in Documenta, Kassel (1968, 1982, 1992 and 1997).

Main solo show in museums and exhibition institutions (for a complete list of solo exhibitions see the dedicated website page):
1966: Walker Art Center, Minneapolis; 1967: Palais des Beaux Arts, Brussels; 1969: Boymans van Beuningen Museum, Rotterdam; 1973: Kestner Gesellschaft, Hannover; 1974: Matildenhohe, Darmstadt; 1976: Palazzo Grassi, Venezia; 1977: Museo Diego Aragona Pignatelli, Napoli; 1978: Nordjyllands Kunstmuseum, Aalborg; Nationalgalerie, Berlin; 1979: Rice Demenil Museum, Houston; High Museum of Art, Atlanta; Georgia Museum of Art, Athens; L.A.I.C.A., Los Angeles; 1980: University Art Museum, Berkeley; Museum of Modern Art, San Francisco; 1981: Westfälisches Landesmuseum-Alternbergen, Münster; 1983: Palacio de Cristal, Madrid; 1984: Forte di Belvedere, Firenze; 1986: Art Gallery of Ontario, Toronto; Stedelijk van Abbemuseum, Eindhoven; Musée Cantini, Marseille; 1988: Grazer Kunstverein, Graz; P.S.1 Museum, New York; Staatliche Kunsthalle, Baden Baden; 1989: Museo di Capodimonte, Napoli; Kunsthalle, Bern; Secession, Wien; 1990: Galleria Nazionale d’Arte Moderna, Roma; 1991: Museet for Samditkunst, Oslo; Camden Arts Center, London; 1992: Deichtorhallen, Hamburg; 1993: Fundação de Serralves, Porto; Witte de With Art Centrum, rotterdam; Creux de l’Enfer C.N.A.C, Thiers; Centre d’Art Contemporain de Vassiviere, Vassiviere; Musée Departmental de Rochechouart, Rochechouart, Porto, Fundação de Serralves; Ujazdowski Castle Centre for Contemporary Art, Warsaw; 1994: Neue Galerie am Landsmuseum Joanneum, Graz; National Museum of Contemporary Art, Seoul; 1995: Museum des 20. Jahrhunderts, Wien; Palazzo Fabroni, Pistoia; 1996: Lenbachhaus, Munich; Mala Galerija Museum of Modern Art, Ljubljana; Museo Pecci, Prato; 1999: MMAO, Oxford; Henry Moore Foundation, Halifax; Galerie Taxispalais, Innsbruck; 2000: Palazzina della Società della Promotrice delle Belle Arti, Torino e Castello di Rivoli Museo d’Arte Contemporanea, Rivoli;  MACBA, Barcelona; Neue Kunstmuseum, Luzern; 2001: Umjetnicka galerija, Sarajevo; Ludwig Museum Budapest; Musée d'Art Contemporain, Lyon; Contemporary Museum of Bosnia, Sarajevo; Ludwig Museum, Budapest; Palazzo Vitelli, Pinacoteca Comunale, Palazzo Comunale, Città di Castello; 2003: MuHKA, Antwerpen; 2005: Galleria Civica d'Arte Moderna, Modena; 2007: MAMAC, Nice; Musée d'Art Moderne, Saint - Étienne; NCCA, Mosca; CAMeC, La Spezia; MADRE, Napoli; 2010: MARCA, Catanzaro; Palazzo Strozzi, Firenze; Philadelphia Museum of Art, Philadelphia; 2011: MAXXI, Roma; 2011: Serpentin Gallery, London; 2012: Universalmuseum Joanneum, Graz; Terme di Caracalla, Roma; BOZAR, Bruxelles; 2013: Musée du Louvre, Paris; 2015: Castello di Gallipoli; 2016: Blenheim Palace, Woodstock; Nordjyllands Kunstmuseum, Aalborg; GAMeC, Bergamo; Museo National de Bellas Artes, La Habana; 2017: Abbazia di San Giorgio Maggiore, Venezia; 2018: Palazzo Ducale, Mantova; MAC - Museo de Arte Contemporaneo, Santiago de Chile; Museo de Arte Italiano, Lima; MACRO, Roma; 2019: Palazzo Gromo Losa, Biella;  2021: Palazzo Boncompagni, Bologna; Museo Comunale d’Arte Moderna, Ascona; Shanghai Minsheng Art Museum, Shanghai; Centro de Arte Contemporáneo de Málaga, Málaga; 2022: Museo del Novecento e del Contemporaneo di Palazzo Fabroni, Pistoia; Cukrarna Gallery, Ljubljana; Louvre Abu Dhabi, Abu Dhabi; 2023: Palazzo Reale, Milano; Chiostro del Bramante, Roma; Castello di Rivoli Museo d’Arte Contemporanea, Rivoli; 2024: Beograd, Museum of Contemporary Art; Caserta, Reggia di Caserta.

His works are present in the permanent collections of leading museums of modern and contemporary art and in private collections open to the public, including:

Aalborg, KUNSTEN - Museum of Modern Art
Ajaccio, FRAC Corse
Ancona, Museo Tattile Statale Omero
Antwerpen, MuHKA - Museum van Hedendaagse Kunst
Atene, The George Economou Collection
Barcelona, Macba - Museu d’art contemporani de Barcelona
Beirut, Aishti Foundation Museum
Berlin, Neue Nationalgalerie
Biella, Museo del territorio biellese
Bolzano, Museion - Museo d'Arte Moderna e Contemporanea
Brescia, Museo di Santa Giulia
Bruxelles, Musées Royaux des Beaux-Arts de Belgique
Bruxelles, Vanhaerents Art Collection
Budapest, Museum of Fine Arts
Buffalo, AGK Art Museum
Cáceres, Museo de arte contemporáneo Helga de Alvear
Cambridge, Harvard Art Museums
Camogli, Fondazione Pier Luigi e Natalina Remotti
Caracas, MAC - Museo de Arte Contemporáneo
Caserta, La Collezione Lucio Amelio alla Reggia di Caserta
Cassino, CAMUSAC - Cassino Museo Arte Contemporanea
Catanzaro, MARCA - Museo delle Arti
Châteaugiron, FRAC Bretagne
Chicago, Chicago Art Institute
Chicago, Museum of Contemporary Art
Cold Spring, Magazzino Italian Art
Dallas, Dallas Museum of Art
Dallas, The Rachofsky House
Des Moines, Des Moines Art Center
Detroit, Detroit Institut of Art
Dortmund, Museum Ostwall
Dunkerque, FRAC Nord-Pas de Calais
Durham, NASHER Museum of Art at Duke University
Düsseldorf, Kunstsammlung Nordrhein-Westfalen
Eindhoven, Stedelijk van Abbemuseum
Erlangen, Kunstpalais - Städtische Sammlung Erlangen
Firenze, Collezione Roberto Casamonti
Firenze, Galleria degli Uffizi
Fort Worth, Modern Art Museum of Fort Worth
Frankfurt am Main, MMK – Museum für Moderne Kunst
Genève, FMAC - Fonds d'art contemporain de la Ville de Genève
Gent, Herbert Foundation
Gent, S.M.A.K. – Stedelijk Museum voor Actuele Kunst
Graz, Neue Galerie am Landesmuseum Joanneum
Hanover, Hood Museum of Art
Hartford, Wadsworth Atheneum Museum of Art
Houston, The Menil Collection
Ithaca, Herbert F. Johnson Museum
Jesi, Pinacoteca di Jesi
Köln, Museum Ludwig
La Habana, Museo Nacional de Bellas Artes
L'Aquila, MUSPAC - Museo Sperimentale d'Arte Contemporanea
La Spezia, Camec - Centro Arte Moderna e Contemporanea
Lisboa, Museu Colecção Berardo – Arte Moderna e Contemporânea
Locarno, Ghisla Art Collection
London, British Museum
London, Tate Modern
London, Victoria and Albert Museum
Los Angeles, Frederick R. Weisman Art Foundation
Los Angeles, LACMA - Los Angeles County Museum of Art
Lugano, MASI  - Fondazione Museo d'arte della Svizzera italiana
Madrid, Museo Nacional Centro de Arte Reina Sofía
Malo, Museo Casabianca
Marseille, MAC - Musées d´Art Contemporain
Mexico City, Colección Isabel y Agustín Coppel
Miami, CIFO - Cisneros Fontanals Art Foundation
Miami, The Margulies Collection at the Warehouse
Miami, PAMM - Pérez Art Museum Miami
Milano, Fondazione Prada
Milano, Museo del Novecento
Milano, Pinacoteca di Brera
Milwaukee, Milwaukee Art Museum
Minneapolis, Minneapolis Institute of Art
Minneapolis, Walker Art Center
Mönchengladbach, Städtisches Museum Abteiberg
München, Sammlung Goetz
München, Städtische Galerie im Lenbachhaus
Naoshima, Benesse House Museum
Napoli, Museo d’Arte Contemporanea Donna Regina Madre
Napoli, Museo di Capodimonte
New Orleans, New Orleans Museum of Art
New York, Brooklyn Museum
New York, The Metropolitan Museum of Art
New York, MoMA - The Museum of Modern Art
New York, Solomon R. Guggenheim Museum
Nice, MAMAC - Musée d'Art Moderne et d'Art Contemporain
Northampton, Smith College Museum of Art
Nürnberg, Neues Museum
Oslo, The National Museum of Art, Architecture and Design
Otterlo, Kröller-Müller Museum
Paris, Bourse de Commerce — Pinault Collection
Paris, Centre Georges Pompidou-Musee National d'Art Modern
Philadelphia, Philadelphia Museum of Art
Pieve di Cadore, Museo dell'occhiale
Pistoia, Fattoria Celle - Collezione Gori
Porto, Fundação de Serralves - Museu de Arte Contemporânea
Potomac, Glenstone
Prag, National Gallery - Veletrní Palace
Prato, Centro per l'Arte Contemporanea Luigi Pecci
Prato, Museo di Palazzo Pretorio
Reggio Emilia, Collezione Maramotti
Rimini, Palazzo dell’Arengo, Collezione Fondazione San Patrignano
Rivoli, Castello di Rivoli Museo d’Arte Contemporanea
Rochechouart, Musée déepartemental d’art contemporain
Roma, GNAM - Galleria Nazionale d'arte moderna
Roma, MAXXI - Museo Nazionale delle Arti del XXI Secolo
Roma, Terme di Caracalla
Rotterdam, Museum Boijmans van Beuningen
Rovereto, Museo per l’Arte Contemporanea di Trento e Rovereto (MART)
Saint-Étienne, Musee d'art modene de Saint-Étienne Metropole
San Francisco, MOMASF-Museum of Modern Art
Sarajevo, Ars Aevi - Museum of Contemporary Art
Savona, MUSA - Museo della Ceramica
Seul, National Museum of Contemporary Art
Sidney, Chau Chak Wing Museum
Sindelfingen, Shauwerk Sindelfingen
Singapore, Parkview Museum
Stockholm, Moderna Museet
Tarquinia, Casa Museo di Tarquinia - Collezione Peruzzi
Teheran, Museum of Contemporary Art
Thiers, Le Creux de l’enfer - Centre d’art contemporain
Torino, GAM - Galleria Civica d’Arte Moderna e Contemporanea
Toronto, Art Gallery of Ontario
Toulouse, Les abbattoirs - Musée d'art moderne et contemporaine
Toyama, The Museum of Modern Art
Toyota, Toyota Municipal Museum of Art
Vaduz, Kunstmuseum Liechtenstein
Venezia, Ca’ Pesaro – Galleria Internazionale d’Arte Moderna
Vassiviere, Centre International d'Art & di Paysage - Bois de sculptures
Villeurbane, FRAC-Rhône-Alpes
Warsaw, CSW - Centre for Contemporary Art Ujazdowski Castle
Washington, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
Washington, National Gallery of Art
Wassenaar, Museum Voorlinden
West Hartford, Art Museum University of Saint Joseph
Wien, MUMOK - Museum Moderner Kunst Stiftung Ludwig
Wien, Sammlung Essl im Schömer-Haus Museum Kunst der Gegenwart

download the biography in PDF format