Four straps fixed to the wall, by means of rochets, strangulate a long textile and colourful cylindrical form titled Pantelmina. The fixing of the piece to the wall, in association with the combination of the title (which derives from the medicine Pantelmine, prescribed for the treatment of illnesses related to intestinal parasites) and the phallic shape of the object, the materials, the explosion of colours and the use of a traditionally feminine work technique – knitting –, result in a provocative counterpoint to the formulations of minimalist sculpture, surging forth as an ironical comment on the historical subordination of woman in the world of art.