Paolo Uccello 1450–1989, evokes the name of the Renaissance painter whose work is ruled by perspective, the mathematical precision of which is sometimes contradicted by his vivid imagination. This is the case of the frescoes in the Green Cloister of Santa Maria Novella in Florence, in which the biblical theme of the Flood is developed through anomalous and almost irrational perspectival constructions. While 1450, the first date in Fabro’s piece. refers to these frescoes, the second date in the work’s title is that of Fabro’s own solo exhibition at the Castello di Rivoli. Installed outdoors, the work inscribes a virtual cube in space, formed by two square metal frames suspended from steel cables. Each frame contains two segments of iron rod, one held vertically at the center of the square, the other attached by rings that run along the fixed element. The mobile rods are arranged in the space free from fixed connections, in fluctuating positions. Like a perspectival box, the work contains mobile elements and fixed ones, the latter referring to Euclidean space.