Since the beginning of his artistic career, in the second half of the 1960s, Franco Vaccari focused his research on three major themes: the dissolution of the modernist aesthetic object; the use of photography, film, and video in order to engage the spectator in process of participation and critique of the media; the accent on the spatial, physical and temporal conditions of perception, with particular reference to public urban space.

These elements situate Vaccari's artistic production within a particular area of Conceptual Art characterized by the emergence of practices based on the direct participation of the spectator/viewer in the production of often ephemeral and temporary works. The artist no longer acts as an original and autonomous author, but triggers an event of which he/she does not control the results. As a consequence, the work is generated “in real time”. It develops in relation to the way in which the viewer perceives it and reacts to it, strongly contributing to the shaping of its meaning.

Nicoletta Leonardi, 2007