signature, year and edition inside of the box lid, e.g. 51/54.

The work is registered in the Piero Manzoni Archive, with no. 1052/51

Work executed in 54 examples cataloged to date.

PROVENANCE:
Il Milione Gallery, Milan
Blue Gallery, Milan
acquired there by the current owner

BIBLIOGRAPHY:
T. Del Renzio, U. Agliani Lucas, Piero Manzoni, Milan 1967, p. 59 (al. ex.)
G. Celant, Piero Manzoni: the only dimension is time in: “Metro”, Venice 1969, p. 12 (al. ex.)
G. Celant, Piero Manzoni. General catalogue, Milan 1975 (1989), pp. 51, 210-211 (al. ex.)
F. Battino, L. Palazzoli, Catalog raisonné, Milan 1991, p. 469 (al. ex.)
E. Rossi-Roiss, Dossier Piero Manzoni, Bologna 1991, vol. I, p. 138 (al. ex.)
A. Vettese, Non-perishable ideas in: “Show”, year III, 1998, n. 10, p. 37 (al. ex.)
B. Spahn, Piero Manzoni (1933-1963). Seine Herausforderung der Grenze von kunst und Leben, Munich 1999, p. 37 (al. ex.)
G. Celant, Piero Manzoni General catalogue, Milan 2004, vol. II, p. 510, n. 767 (al. ex.)
G. A. Pautasso, Piero Manzoni Devouring Art, Milan 2015, (on the cover); p. 11, no. 1 (e.g.)
G. Celant, Arts & Foods, Milan 2015, cat. exhibition, p. 617, n. 724 (illustrated); p. 927, n. 724 (al. ex.)

EXHIBITIONS:
Milan 1966, Civic Pavilion of Contemporary Art, Fifty Years & Dada. Dada in Italy 1916-1966, p. 220 (al. ex.)
Eindhoven 1969, Stedelijk Van Abbemuseum, Keuze uit de aanwinsten 1965-1968 van het Eindhoven, p. 19 (al. ex.)
Milan, Galleria Blu 1970, Piero Manzoni, 1970, (ex. al.).
New York 1972, Sonnabend Gallery, Piero Manzoni, p. 49 (al. ex.)
Ferrara 1973, Civic Gallery of Modern Art, Palazzo dei Diamanti, Present Participle, (ex. al.)
Basel 1973, Kunstmuseum Basel, Piero Manzoni 1933- 1963. Werke aus holländischem Privatbesitz, (al. es.).
Turin 1977, Civic Gallery of Modern Art, Art in Italy 1960-1977. From work to involvement. The work: symbols and images. La linea analytica, 1977, cat., p. 76 (al. ex.)
Madrid 1990, Centro de arte Reina Sofía, Palacio Cristal, La otra escultura: treinta años de escultura italiana, p. 29 (ex.).
Paris 1991, Musée d'Art Moderne de la Ville de Paris, Piero Manzoni, p. 221 (e.g.); then Herning, Kunstmuseum; then Madrid, Sala de Exposiciones de la Fundación la Caixa; then Rivoli 1992, Castello di Rivoli, Museum of Contemporary Art
Solothurn 1993, Kunstmuseum, Bilder aus der Sammlung von Hans und Käthi Liechti, (al. ex.)
Esslingen 1995-1996, Galerie der Stadt, Villa Merkel, Zero Italien. Azimuth/Azimuth, 1959-60 in Mailand. Und heute. Azimut/Azimuth, 1959-60 in Milan. And today. Castellani, Dadamaino, Fontana, Manzoni and italienische Künstler im Umkreis/and Italian artists in the field, p. 208 (al. ex.)
Rome 1997, Palazzo delle Esposizioni, Città natura, p. 252 (al. ex.)
Milan 1997, Palazzo Reale, Piero Manzoni. Milan and mythology, p. 98 (al. ex.)
Verona 1997, Gallery of Modern and Contemporary Art Palazzo Forti, Dadaism Dadaisms. From Duchamp to Warhol. 300 masterpieces, (e.g.)
Düsseldorf 2000, Kunsthalle Düsseldorf, Das fünte Element – ​​Gelt oder Kunst. Ein fabelhaftes Lexikon zu einer verlorenen Enzyklopädie, p. 298 (al. ex.)
Milan 2000, Society for Fine Arts and Permanent Exhibition, Piero Manzoni. Consumption of art dynamic of the public devouring the art. Show dossier 8, (e.g.)
Barcellona 2001, Fundació Joan Miró, Ironía, 2001, p. 37 (al. ex.)
Salamanca 2002-2003, Centro de Arte, Comer or no comer. O las relaciones del arte con la comida en el siglo XX, p. 354 (al. ex.)
Venice 2014-2015, Guggenheim Museum, Azimut/h. Continuity and the new, p. 245 (al. ex.)

The 60s were the most creative years on an artistic level. Piero Manzoni can be considered the promoter of an astonishing art devoid of any intellectual restraint. He manages to go beyond the Dada evolution, whereby the artist has the power to choose commonly used objects and proclaim them works of art. For Manzoni, the artist, as such, has Art within him, therefore everything about him is Art. The egg and, shortly after, the Artist's Shit, underline his desire to renew the artistic world.