Perros (1969), exhibited at the La Nuova Pesa gallery in Rome, announced a new direction in Mensa’s career. Leaving his critical analysis of social and external reality behind, he now moved towards a critical analysis of internal and individual reality. Here the face mask, a key symbol in Mensa’s work, appeared for the first time. By inverting its meaning, appearance becomes reality. Inserted in an atmosphere of deliberate violence and oppression, his allegories or metaphors of the human condition attempt to recreate the climate of opacity that has invaded Western civilisation. In the 1970s, Mensa found his own language and expanded, especially in Italy. This is when his work aroused growing interest among the public and art critics.

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