Scrolling through the index of names in many contemporary art manuals and essays, it is difficult to find Margherita Sarfatti's name. She was the first woman in the world to structurally establish herself in the role of art critic, theorizer of an identity line for Italian art, creator of a movement such as the Novecento Italiano and promoter of Italian contemporary art on the international scene with dozens of exhibitions in important European and American capitals. For decades, however, she has been removed from memory and historiography. Why? Her personal history and long intellectual and then loving relationship with Benito Mussolini have weighed on her figure. A responsibility that does not justify the damnatio memoriae that affected Sarfatti - and many of the artists she supported - until very recent years.

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