In the excursus pursued by Andrea Facco, what emerges is that his approach to the problems of art and representation always occurs using the art of painting: without ever disavowing techne, but, on the contrary, putting doing on an equal and complementary level to thinking. As we try to understand the logic of his work, to identify the underlying reason that drives a form of research that is essentially narration through images, we are confident when affirming that painting is always at the centre of his poetics. After all, if we were to classify his work according to the logic of contemporary art, we would have to define him as a conceptual artist who does not forgo painting, but above all one who knows how to paint with exceptional skill. His, therefore, is praise for painting; an apology with a hint of the outdated, in some cases, articulated in sequences, passages from an amorous discourse that began for Facco in the distant times of his first drawings and that has gradually become more complex, as his mind entered the pictorial device, disassembling the mechanism that regulates it. To do so, the artist needed to probe the various rhetorical figures that regulate our perceptive approach to the idea of a painting, ranging through the paths taken by the history of art, then pausing to explore a theme when his eyes came across an artist or a work that might play into his hands. Not surprisingly, we use this expression to explain Facco's modus operandi. Indeed, he plays by mixing the roles and rules of the pictorial dimension with the ease of someone who has mastered its secrets and lets us play, as onlookers, moving our gaze like an expert chess player influencing a game by envisaging the moves of his opponent. [...] Daniela Ferrari