Every subsequent work--such as the famous Giovane che guarda Lorenzo Lotto (Young Man Looking at Lorenzo Lotto), 1967, a black-and-white photograph of a work by the sixteenth-century Venetian, whose subject looks beyond the "threshold" of the painting toward the artist who is painting his portrait--is a continuous approach toward and recapitulation of "where we are," which for Paolini becomes "who we are.

Nunca sale sola a la calle, y aun yendo acompanada de su madre, se guarda mucho de volver Ia cabeza, y no mira hacia atras aun cuando sepa que las sigue un amigo.

Et se non vuogli essere ypocrito, guarda l'origine tua, la timologia la ensegna.