Abstract
This paper focuses on the critical analysis of Merda d’artista (1961) by Piero Manzoni, underlining the problematic nature of psychoanalytic interpretations proposed by Nancy Spector, Jean-Pierre Criqui, Gerard Silk and others related to Freudian theories. Starting from the philosophical interests of the artist and his theoretical declarations, it proposes a reinterpretation of the famous Manzoni’s work in the perspective of that bond to the social and experiential dynamics that will characterize most of the conceptual researches of the late Sixties.
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