The installation L'opera autentica aimed to reflect on the potential of the artwork, on its preconditions, and on its ability to still use the language of figuration. It was a cubic space located in the center of the room; inside, the artist positioned four easels, each of which held a white canvas with linear lines, signs that described the possible unfolding of a square shape in space. Two steel cables were fixed to the top of the four walls, which crossed each other, generating a diagonal squaring of the space itself: due to their color, the cables were reminiscent of the graphite of the pencil and visually connected to the signs traced on the canvases. At the center of this squaring, a Plexiglas plate was suspended, with which its transparency reaffirmed the "invisibility" of the work but also its need to exist: canvas and plate, together with the structure that the visitor could look at but could not access, were clues relating to the mystery that surrounded the work.

In the artist's words, "the four drawings, drawn in pencil on the four canvases on the four sides of the structure, are the essential - but not definitive - aspect of the work: each transcribes one of the infinite moments, always changing, which gradually they find themselves defining it. Those features are not even absolute and autonomous because they are dictated by the mobile, elusive, invisible but decisive central element of the origin and authenticity - if not of the uniqueness - of the work itself ".
(Giulio Paolini)