The result of a long piece of work in texts and images on the relationship between the public and art, gathered in galleries and museums all over Italy: the Vatican Museums, the Galleria Borghese, MAXXI, the national modern art gallery and the Vittoriano in Rome, the Uffizi and Palazzo Strozzi in Florence, the Egyptian Museum in Turin, MART in Rovereto, Punta della Dogana in Venice and many more. The rooms of a museum expect an audience that looks at the works, not an audience that observes an audience. The novelty lies in the direction of Cotroneo’s gaze: he wants to understand what happens to people inside an exhibition space, whether they are looking at Edward Hopper or Piero della Francesca, a picture by David LaChapelle or a work by Alberto Burri or Mimmo Paladino. His observation places the subjects inside a further image, able to add together the arts with moving bodies, reflections, postures and sensuality. Almost all visitors photograph what they see, and almost all drift away, find distractions, look at their smartphones and wait for news from their private world inside spaces foreign to them: in the theatre of art the scene is not the work but the public passing through it. Many adapt to the works, choosing, hesitating; in the great popular museums they move in groups, in masses, like migrations; others are puzzled by installations they barely understand. The project cannot help straying, with discretion, into the sociology of art. The book accompanied the exhibition at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome in 2017, and the work was made possible by the 2014 law that allowed visitors to take pictures in museums; it also contains a picture taken by the minister Dario Franceschini at Tate in London.