Michelangelo Pistoletto: That we move this sphere that was made with newspapers. The newspapers of the last time, last year’s, and they are – it is a copy of a newspaper sphere that they did in ’66 with the paper of that time. The sphere is done in order to go outside from the Museum, from the place dedicated to Art, and bring the Art in the street. In becoming a sculpture for walking – it is a walking sculpture. [Rolling newspaper sphere through the streets] The ball keeps going. We make a tour. We improvise, probably, a little bit. We like to improvise. How important is that? How important is it for Art to come out of the galleries, to be… Michelangelo Pistoletto: Well, for me the Art can also be democratic, it can also be very much involving with society. [People lifting sphere up between them] Everybody can come here, the eye, like a big statue. [Applause] Michelangelo Pistoletto: It is going well, as you see, many people is coming. I don’t know if everybody will go on with us. We see. [Sphere perched up on a plinth] MP: Wow, good idea! MP rolling the sphere: Wait for the fisherman! [Rolling down a street] [MP lifting the sphere against the wall of a building, like Atlas] [Through the streets again – across pedestrian crossings, down subways] MP [Collapses on a seat] : Ah! This is the boat? We take the boat? Yes! MP: Good. Why not? Okay. [On the Thames] [Children pushing it along the road – applause] MP: Arte Povera still is important for that reason, because we are in a moment of big change, of big transformation. We are… the progress is turning around. We cannot go half in the sense of the progress, the traditional sense of the progress. We have to make a big turn around. But I am trying to do that with Città dell’Arte, not only making objects, but making a nativity that is putting Art in social life, and social economy and social communication, in condition of moving and making this new turn around.