art academy but school would not be her path forward; she skipped class and dropped out. Right off the bat she intuitively possessed her own self-assured style, line quality, subject matter, and twisted perspective. Specificity of vision, brazenly expressed, distinguishes Rama's earliest works. Art practice As a painter, Rama began with sex and with watercolor. Infused with inwardness, watercolor has an intimate relation to the painter's body, with brushwork that tends to revolve around hand and wrist action, much like writing; its scale suited Rama's tabletop home-studio set-up. A medium of dilution and pollution, bleeding and spillage, watercolor was just the right thing for the then-young artist fascinated by bodies, orifices, fluids, and their intersubjective exchange. Color in her early watercolors is generally applied sparingly, in pale washes or barely at all, with strategic, vivid punctuations that draws attention to key erogenous zones: mouths, tongues, nipples, cunts, dicks, and assholes- wet holes and erotic plumbing primed for liquid flow. Of all the orifices, the mouth is Rama's favorite, as it is the most representative of desire. Her watercolors redesign anatomies, amputate and reorder limbs, realign orifices, and scramble physiological functions. Her women are often depicted armless, legless, or both, appearing broken like damaged classical ruins from Italy's ancient past. At the end of the thirties Carol Rama also painted some twenty oils on canvas with a less scabrous content, as if her message had been influenced by the more conventional medium. They are most of all self portraits in which the coulees are at first laid on flat, in a manner that recalls some of Felice Castorati's early paintings, but the features are stylized to such an extent that they disappear, reducing the face and the body to mere splotches of lumpy paint. The work of Carol Rama was also the object of what we could call a psychopathological reduction. Throughout the 19th century and a large part of the 20th, the art produced by sexual and political minorities and those of functional and cognitive diversity have been strained by epistemological-political taxonomies. In 1945, Rama mounted her solo debut at Galleria Faber in Turin, exhibiting a range of early watercolors. But the show was not seen. It was immediately censored, shut down by police for its obscene, abject, and all around exuberantly offensive imagery before it could open to the public. Chronically excessive and too much for the scene to