After his mirror paintings, fusion of art and life became Pistoletto’s perennial intent. In the late 1960s, he crafted a series of everyday objects from inexpensive (or “poor”) materials. Coining them “Minus Objects,” they expressed autonomy from traditional approaches to medium and valuation. He reinvented his objective again, with Venus of the Rags (1967), by placing a found reproduction of the ancient Greek statue alongside a pile of recycled cloths. Later, he turned his focus to the importance of collaboration and founded the Zoo, a shared studio space for artists working in all mediums, scales, and durations. Finally (we say with uncertainty—for Pistoletto’s work, it seems, is never done), he established Cittadellarte, a multidisciplinary platform for the creative reflection of art, society, and politics—and, in the artist’s view, his legacy.