The paradise that the countryside bordering Rome offers to photographers and painters is unparalleled.
A survey along the aqueducts and consular roads south and east of the city represents a unique case of photographic study of the Agro Romano. When, at the beginning of the 1990s, Sternfeld confronts the lines that have traced ancient Rome’s relationship with the extra-urban world, he turns to the contamination of the contemporary, already partly aware of the rapidity of the pace at which the new city would advance, and indirectly confronts us with the present reality.
