ROME.- Rome’s Galleria d’Arte Moderna has refreshed its centenary exhibition, GAM 100. A Century of the Municipal Gallery 1925–2025, with 25 additional paintings and sculptures drawn largely from the museum’s holdings. The updated presentation, which opened on June 24, offers visitors a broader look at the evolution of the collection and at works that are rarely seen outside the museum’s storage areas.

On view through October 11, 2026, the exhibition brings together more than 120 works tracing the history of the Galleria d’Arte Moderna and the development of Rome’s municipal collection. The museum’s holdings have been shaped by more than a century of acquisitions tied closely to the city’s cultural policies, beginning in the late 19th century and continuing to the present day.

The latest rotation introduces works by major figures including Giuseppe De Nittis, Mario Mafai and Gino Severini alongside lesser-known artists whose work played an important role in the growth of the collection. Some of the new selections have replaced pieces previously on view, while others have been added to expand the story told by the exhibition.

Curated by Ilaria Miarelli Mariani and Arianna Angelelli, with Paola Lagonigro, Ilaria Arcangeli, Antonio Ferrara and Vanda Lisanti, the exhibition is organized by Roma Capitale and the Capitoline Superintendence for Cultural Heritage, with organizational support from Zètema Progetto Cultura.

The exhibition’s first section, devoted to the museum’s earliest acquisitions, the emergence of the avant-gardes and the importance of the Roman Quadriennali, now includes several works acquired by the city between the late 19th and early 20th centuries.

Among them are Giuseppe De Nittis’s Winter Landscape (1867–74), Alessandro Pigna’s Frigidarium (1882) and Augusto Bompiani’s Pompeian Figure (1901).





The section also highlights works connected with Rome’s Biennials and Quadriennali, including Giuseppe Carosi’s The Angel of the Chrysanthemums (1921) and Lorenzo Lorenzetti’s Boy Diving (1930–31), which came from the first Quadriennale. Also on view are Franco Gentilini’s Young People by the Sea (1934) and Gino Severini’s The Abducting Angel (1933–35), both shown at the 1935 edition.

Four painted ceramics by Nandù, a less familiar figure to many visitors, have also been incorporated into the display, where they are shown in dialogue with works associated with Second Futurism.

The second section examines the period between the gallery’s closure in 1938 and its later reopening at Palazzo Braschi as part of the Museum of Rome. The works brought into this section underline the variety of artistic directions developing during the 1930s.

They include Mario Mafai’s Demolition of Via Giulia (1936), Umberto Bottazzi’s Scene of Roman Life / Turtle Fountain (1930) and Nino Caffè’s Circus Family (1938–39).

The renewed installation also gives visitors the opportunity to see two works that had never previously been exhibited at the Galleria d’Arte Moderna: Onorato Carlandi’s Agitation (1916) and Maria Immacolata Zaffuto’s encaustic Construction Site with Figures (1925–40). They are shown alongside Ada Salvadori’s Madonna (1955).

The exhibition’s third section follows the gallery from its reopening in 1963 at the Palazzo delle Esposizioni to the present day, bringing together works that reflect several different moments in 20th-century Italian art.

Among the newly displayed works are two landscapes by Pompeo Fabri, Villa Borghese (1915) and On Monte Parioli (1919). Fabri was among the founders of the XXV della Campagna Romana, a group of artists dedicated to depicting the Roman countryside.

Other works include Pippo Rizzo’s Marina (1930–34), Nicola Rubino’s sculpture Acrobats (1950–57), Luigi Montanarini’s Abstract Painting (1955–57) and Primo Conti’s The Woman of the Sea (1969).

The installation also draws attention to the little-known group known as the “tavolettisti,” represented here by Maria Cortini Viviani’s Sunday (1960–63) and Arrigo Taggi’s Villa Borghese (1955–60).

As part of the rotation, a number of works that had previously been shown have returned to storage. These include pieces by Giulio Aristide Sartorio, Adolfo De Carolis, Ferruccio Ferrazzi, Carlo Socrate, Emanuele Cavalli, Giorgio de Chirico, Carlo Carrà, Manzù, Marcello Avenali and Emilio Greco, among others.

The changes underscore one of the central ideas behind GAM 100: that the history of the museum cannot be told through a fixed group of masterpieces alone. By bringing rarely seen works out of storage and placing them alongside better-known names such as Balla, Casorati and Sironi, the exhibition offers a more layered view of how Rome’s municipal collection was built and how artistic tastes and cultural priorities changed across the 20th century.

GAM 100. A Century of the Municipal Gallery 1925–2025 remains on view at the Galleria d’Arte Moderna on Via Crispi in Rome through October 11, 2026.