generally led him to the acquisition of more examples of the same type, as well as of similar pieces from other cultures. This global approach made it possible for him to achieve a better understanding of the evolution of material culture in different world cultures and to get a grasp of their connections. Although he was obviously sensitive to the aesthetic dimensions of artworks, basically he was, above all, a collector of knowledge, and to that extent, the collection was, as I have already suggested, a “scientific” one. T. A. M.: One last question. You are now in charge of this great collection of your father’s, and you are still quite young. What do you see as the Ligabue Collection’s future? I. L.: Honestly, I have taken on the challenge of continuing my father’s work with a deep sense of responsibility. My goals will be the same as his: to preserve and to divulge. What does the future hold for us? That’s hard to predict, but I can say that one of my first short-term objectives will be to present Il mondo che non c’era at other venues after it closes in Florence. We are already working with other towns in Italy where Pre-Columbian art exhibitions are few and far between, and I would be especially pleased if the show could be seen in Venice, of course. As far as CSRL and the entire collection are concerned, my biggest wish is to see them meld into a single project. I hope to create an outstanding center devoted to the study of man and art, with a large library that would include all of the publications produced under my father’s patronage, as well as the visual archives (including some 120,000 slides) and the documentaries filmed in the course of the 130 CSRL-sponsored expeditions. This place would include a permanent exhibition space, one in which the public could experience at least part of the Ligabue Collection. I don’t know yet when this dream will become a reality. What is certain is that I am currently evaluating various possibilities and that I am continuing to acquire actively. I have contributed notably to developing the subcollections of art from Africa and Oceania, two areas in which I have a strong personal interest. The future of the Ligabue Collection thus remains open, and that is very exciting.
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