-“ However, the presepio to which Yvonne DiPalma has applied herself for years, continually enriching it with new “personalities” is a completely unique one. It is traditional in the sense that it respects the scenery elements and theatrical stage of the presepe intended in its originally accepted meaning. On the other hand, it differs from the classical presepe because accompanying the underlying religious concept is a so-called secular representation with the introduction of figures and pastori taken from our own contemporary world and, more exactly from our public and political life. In this way we are permitted to observe famous personalities who have already been consigned to the news, if not also to the history of recent years….all portraits, not lacking in a touch of irony, with expressions and postures similar to the pastori of the eighteenth century. This is the startling “discovery” of the artist ….perhaps, however the term “ discovery” may seem reductive because in the intentions of the artist, the mixture of sacred and profane does not tend to desecrate the institution of the presepe as much as , on the contrary, it enriches it with both a social and humane component at once…it is that social and humane commitment which makes the “Presepial Installation in Honor of Peace” so special, original, and unique- rescuing it from every suspicion of a game and consigning it to us as an authentic testimony of Art.” From “Christmas, a Society of Conflicts, “ by Michele Prisco, Catalogue, Ponte alle Grazie Editori c1991