There were trips to London where I wasn't chasing a specific exhibition, but rather a way of working. Michael Hoppen Gallery was one of those places. I visited twice, not so much to see a particular show as to understand a project up close that, even then, had become a reference point in London photography. The gallery opened in 1992 and was born, precisely, from a very clear passion for photography, something that is perceptible even before reading it in any official text.

What attracted me most was not just the artwork, but everything that supported it. The brick facade, the almost discreet entrance, the signage, the information panels, the price lists, the way silence was ordered. I was interested in observing how a project of this level built its identity beyond the exhibited pieces. As happened to me with other spaces in those years, I wasn't just looking at the gallery: I was also looking at its visual system, its aesthetic education, its way of communicating without ostentation.