The exhibition is arranged in highly evocative thematic sequences that wind along the nine rooms on the second floor of the Correr Museum. The first great piece, Facciata veneziana [Venetian Façade] is witness to the ties and sense of belonging the artist had with the city that welcomed him when the war in former Yugoslavia forced him to flee Sarajevo in 1992. This is followed by the images, atmosphere and tools of his Venetian atelier, his space and world, both refuge and origin of an artistic existence and activity that are reborn and renewed. Of heartbreaking authenticity, the views of a “minor” Venice are followed by still lives, what Zec called “silent lives”, boats and doors, forgotten objects, baskets, brushes, colours, rope, bread boards and mirrors. And shapes of bread that are of sacred beauty.