Art cannot be viewed as a happening subject to chronologies and specific movements. Systematising a logic associated with movements and their possible denominations is perhaps one of the limitations of 20th-century art historiography: it has not yet been possible to think about this period in its entire dimension and complexity. We cannot possibly make reference to this intricacy from knowledge of facts alone, without sketching the importance of gender and racial origin, and without the interferences of situations associated with interdisciplinarity. Questions which would be impossible to analyse without taking into account the dimension of those artists who transcend their time and acquire a status of atemporality. Michelangelo Pistoletto is beyond Arte Povera, Pop or Nouveau Réalisme, his work is the struggle through the different years of his life and is like the minor residues of a great laboratory which has surpassed the art object in order to enter into the epicentre of society. His interest in artistic creation stems from cohabiting from early childhood with a father whose profession was restoring works of art.