The works of Bruno Gironcoli (1936–2010) marched across the first floor as if on parade, resembling hybrid altars, or even extraterrestrials that combined mechanical components with organic motifs. The third floor held smaller sculptures and drawings. These pieces approached the human figure more directly, displaying a body that was wounded, tortured, and assaulted, and were incorporated into a ceremonial or choreographed piece. They were also a way to imagine the setting for a performance, as if Gironcoli was showing us the production site for his sculptures or the site of their future context as fantasies on a stage. By the late 1970s, the artist had produced a repertoire of small forms that he displayed in glass cases. These sculptures of babies, larvae, grape clusters, ears of wheat, or phallic and vaginal symbols became modules for his monumental compositions.