The second was to expose him to the most unbridled consumerist culture and, consequently, to an underground art scene bursting with political, participatory and democratic vocations. An environment far removed from that of many Italian galleries with which, however, the sculptor dialogued assiduously with the desire of establishing a bridge between the United States and his motherland. Between 1967 and 1972, in fact, Pomodoro succeeded in bringing Sue Bitney, Harold Paris, William T. Wiley and Stephen Laub, then unknown in Italy, to Milan’s visionary gallery Studio Marconi.
His role, hence, became similar to the one covered in the Belpaese by Fernanda Pivano in the field of American counterculture literature, and later, in the 1980s, by Francesca Alinovi who first exposed Italy to the advent of the graffiti art movement.