In Rome, on May 12, 2026, the fourth chapter of MURALES inaugurated — the project through which Pierpaolo Ferrari transforms construction sites across the capital into works of art. The title is FUTURO A VISTA: two children peer through an opening in the Piazza Venezia construction site, eyes wide, faces cut against the sky.

FUTURO A VISTA is the latest chapter of a project Ferrari has been developing for years, turning temporary urban surfaces into something more: thresholds, not barriers. The construction site — by definition a space of transition, suspended between what was and what will be — becomes here the perfect support for an image that speaks of transformation without ever naming it directly.

The reference to Raphael’s Sistine Madonna is immediate for those who recognize it, subtle for those who don’t. The cherubs of 1512 return in 2026 under a different light: same posture, same contemplative abandon, but rendered through the pop and photographic sensibility that is Ferrari’s unmistakable signature. Art history is not cited to show off — it is used as a tool to say that certain human gestures never change. The curious gaze of a child leaning over the edge has been the same for five hundred years.

At the heart of the work is a single idea, expressed on multiple levels: leaning out as a generative act. Looking is not passive — it is imagining, discovering, projecting oneself forward. And entrusting this gesture to childhood is a political choice as much as an aesthetic one. Children have not yet learned to stop being amazed. Placing them at the center of a square in transformation means reminding those who pass by that the future is not a threat to endure, but something to lean into.