The General Archive (with the relative catalogs) of an artist such as Concetto Pozzati is particularly complex, both for its iconographic vastness and for its typology. From the young informal production to the Nouvelle Figuration of the second half of the ’50s, he became an undisputed protagonist of the “Italian Pop Art” in the 60s experimenting, in dialectic with painting, the most varied materials (from plastic to neon, from leather in the mirror, from shapes in wood and metal to natural finds, etc.), and always investigating the language of painting with irony, desecration and deep criticism. In those years the artist wrote texts and thoughts seen by the painter. The artist determines his production in specific “themes” and “cycles”, exhibited, compact and organic only in the first exhibitions; then, except for a few others, they appear scattered and shattered. In the same various master museum anthologies, the pictorial cycles taken into consideration by the directors and curators have never been complete, with the exception of “Suicide of Grosz” (1969) and “After the All” (1980), because, if although they were composed of numerous works, they determined a single “framework” and / or installation. The aforementioned archive has until now produced the tomes of Maestro Pozzati, collecting works created at different moments of his creation and artistic evolution. No curatorial figure specific “at the helm” of the various catalogs,but will refer critically to the texts and essays most significant of the different periods, so as to create, in the series of tomes, a true consultable critical anthology.