The Address is pleased to present Mi fa pensare a…, a two-person exhibition bringing into dialogue Marion Baruch and Leonardo Meoni, on view from April 11 to May 31, 2026.

This exhibition marks the third collaboration with both artists and represents its most fully realized iteration. For the first time, four new works by Meoni are presented in direct relation to a selection of five works by Baruch produced over the past fifteen years. Rather than a juxtaposition, the exhibition unfolds as a sustained dialogue, one shaped over time through observation, proximity, and exchange.
A generational distance underpins the project, yet it never resolves into opposition; instead, it opens onto a continuum. Distinct trajectories converge around a shared commitment to painting, particularly at the moment in which it appears to withdraw from its traditional means. Both Baruch and Meoni test its limits, articulating alternative modes of practice. Textile, whether industrial remnant or sensuous velvet, becomes a responsive surface, a site of potential. What is at stake, however, is not the material itself, but the processes through which it is activated, interrogated, and brought  into presence. Across both practices, a sustained tension between presence and absence emerges. The works operate at a threshold: Baruch’s pieces, precariously held by pins, verge on collapse; Meoni’s retain gestures that remain provisional, subject to erasure, displacement, and reconfiguration. In each case, the work occupies a condition of controlled instability, suspended between what it is and what it might cease to be.
Within this unstable field, a broader reflection takes shape, not as disorder, but as a necessary slippage of forms and meanings, where systems open, disperse, and reconfigure. The works on view inhabit this liminal space.
They resist resolution as fixed images, instead presenting themselves as contingent states. Emptiness, light, and ephemerality function as active agents, generating and dissolving form in relation to the viewer’s gaze. Painting, here, does not disappear but is attenuated, reduced to a minimal gesture. Matter recedes, allowing an essential dimension to emerge, in which the work exists only in the act of perception.

At the same time, both artists sustain a nuanced engagement with art historical lineages. From mural painting to the Renaissance, from Conceptual art to Spatialism, from Minimalism to Arte Povera, references surface subtly, operating as an underlying, often invisible structure. This is not citation, but assimilation, a form of knowledge embedded in gesture, proportion, and decision. It is within this delicate, sensorial, and intellectually charged framework that the dialogue between Marion Baruch and Leonardo Meoni finds its force: not in the resolution of the image, but in its continual reopening, in its capacity to unsettle, to hold, and to draw the gaze. The work unfolds in relation to the viewer, continually redefined in time, as if duration itself were momentarily suspended, allowing us, once again, to inhabit a state of suspension.

Marion Baruch (b. 1929) lives and works in Gallarate, Italy.

Enrolled at the Academy of Fine Arts in Bucharest, she found refuge in Israel in 1949, where she continued her studies at the Bezalel Academy of Arts and Design in Jerusalem. In 1954, she moved to Rome, where she studied painting at the Academy of Fine Arts. In addition to being exhibited at international institutions such as the National Museum of Contemporary Art (Bucharest), the Centre Pompidou (Paris), the Center for Contemporary Art (Tel Aviv–Yafo), and the Museo Novecento (Florence), among others, her works are also held in the collections of the Kunstmuseum Luzern, MAMCO (Geneva), the Roche Art Collection (Basel), the Musée d’Art Moderne de la Ville de Paris, La Triennale di Milano (Milan), the Galleria Nazionale d’Arte Moderna (Rome), Museion (Bolzano), the Groninger Museum (Netherlands), Turner Contemporary (Margate), Fri Art Kunsthalle (Fribourg, Switzerland), MA*GA (Gallarate), and Kunstmuseen Krefeld (Germany).

Leonardo Meoni (b. 1994) lives and works between New York City and Prato, Italy.

He studied at the Accademia di Belle Arti di Firenze and the Accademia di Belle Arti di Brera. Recent exhibitions include: Felt, Velvet, Soot, Gypsum, Engine Oil, Bortolami Gallery, New York (2025); I Used to Be a Mountain, Spazio Amanita, New York (2025); Gli altri colori purtroppo sono tutti caduti, Museo Stefano Bardini, Florence (2024); Uncertain Weavings, The Address, Brescia (2023).