Climbing the external spiral staircase to the Milan headquarters of De Carlo’s four-site operation, a newly restored 1930s Piero Portaluppi-designed apartment that opened in March, visitors were treated to a group show featuring the likes of Rudolf Stingel, Richard Prince, Felix Gonzalez-Torres and Yan Pei-Ming. Curated by the gallerist and Francesco Bonami, the exhibition, like the architecture housing it, sought to ‘fuse elements of historicism with modernity’. Yan was the subject of a solo show at De Carlo’s second Milanese gallery in September, while fellow painter Jamian Juliano-Villani (pictures of Amy Winehouse, goats wearing Ugg boots, a dog waving a knife), took over the London space over the summer. She was followed by the more minimal, abstract canvases of McArthur Binion (who also exhibited, earlier this year, in De Carlo’s Hong Kong gallery), described by the Financial Times as ‘some of the finest and most thoughtprovoking contemporary paintings to be seen in Europe right now’.