RITORNA sounds like the desire to fulfill a dream that has been left unfulfilled, like a promise that demands fulfillment. The title organizes the exhibition around the return of artists, audience, and physical space. RITORNA is not a simple repetition but evokes the critical, ethical, and aesthetic gesture of reunion. Existence is not an immediate permanence but involves a series of departures and reunions that test the substance of feelings. Returning to what one loves requires a memory that is not limited to repeating the same gestures but knows how to recognize transformations—both one's own and those of the beloved object—and to gather around them a new form of presence. The return, here, is to grasp what has been learned during the time of absence. The myth of the sirens offers a powerful grammar for this movement. The sirens sing of desire and loss; their song is a promise of beauty and, at the same time, a threat of annihilation. The mythical knot shows the dual nature of the call: there is a call that leads to an authentic return—one that guides us toward a home to be re-known—and there is a seduction that undoes the ability to return by nullifying the subjectivity of the traveler. Ulysses is a paradigmatic figure: resistance to the song is not a renunciation of beauty, but a discipline of desire in order to finally return, not as someone who recovers an unchanging time, but as someone who brings back with him the proof of the journey. Ulysses returns to Ithaca because he cannot betray his immeasurable and irrational desire to have Penelope back, beyond glory and beyond mistakes. He RETURNS. For a city like Sorrento, this symbolism resonates in the background: just as the sea calls, the shore waits; similarly, the artists and travelers of the Grand Tour returned to translate the experience. This exhibition therefore presents the return as a “request for confrontation” that demands an emotional effort from the visitor and the artist. The effort to have the courage to leave cognitive barriers behind so that the act of exhibiting becomes a ritual of reunification. The wonder of the works can only be granted to those who demand repeated glances; it reveals itself only to those who return, to those who insist. The exhibition becomes an extended period of time in which “RITORNA” is an act of pure fidelity, in which the curatorial device reveals that knowing how to return changed gives eternity to the path that is traced. RETURN is coming back from the journey with the ability to translate the experience into the construction of a better, reconciled future.