of a kind" quality. Socio-political messaging is found in Pesce's collections, such as "Nobody’s Perfect" (2002) by Zerodisegno, and the 2010 series of irregularly shaped tables for Cassina, which together form the recognizable shape of a boot shape, commemorating the 150th anniversary of the unification of Italy, and celebrate human diversity and connection, as well as one-of-a-kind pieces like “America Table” (2012), with a red-white-and-blue resin tabletop American flag supported on letters that spell “independence,” and “Verbal Abuse” (1994), a tall, grided lamp that bends forward with attachable weights. Pesce's unconventional mixed-media industrial design and organic forms collected in major museums across the world ascribe the work to the realm of art. A 2014 retrospective exhibition The Time of Diversity at the MAXXI, National Museum of the 21st Century Arts, Rome, charted the artfulness of Pesce's product design from the 1960s to the present. Recent exhibitions such as “What it is to be Human,” at The Peninsula Chicago, Art Basel in Hong Kong, and an artist-in-resident program at Peninsula Beijing, all featuring works by Gaetano Pesce that expand the renown artist and architect's history of public commitment to the arts. In 2016, Pesce unveiled a site-specific sculpture "Majesty Betrayed" in Piazza Santa Maria Novella. The monumental female figure wrapped in a long cloak by Pesce was inspired by the Christian Maestà iconography of the Madonna on the Throne - the highly venerated Madonna Rucellai by Duccio di Boninsegna (1285), in Santa Maria Novella and later moved in the twentieth century the Uffizi. Pesce's sculpture entitled "Porta Ritratti" (2018) for the Milan Fuorisalone was exhibited at the entrance of the Brera Academy of Fine Arts, and later, the 13th edition of Design Miami / Basel. The ambitious installation - a chair measuring over 13-feet (4-meters) high representing 20 human faces - according to Pesce, " is a Trojan horse that penetrates the Rocca dell'Arte making victims among the old mentality." The work is another compelling tribute to cultural diversity within society. Gallery and museum exhibitions Pesce's architecture and design has been published, exhibited, and collected internationally and included in the permanent collections of museums around the world. Solo exhibitions 1975: Gaetano Pesce, Le futur est peut-être passé("Gaetano Pesce, The future is perhaps past"): Centre de Création Industrielle, Etablissement Public du Centre Beaubourg, Musée des Arts Décoratifs, Paris 1983: Gaetano Pesce : a Yale School of Architecture Exhibition. 1986: Gaetano Pesce 1975–1985.