The work that Steinbach produced while he was in Como reflected on the relationship between water, recreation and scientific development itself. He juxtaposed objects from a showcase of modern art in Hudson, New York, and photographs of the instruments that led to the discovery of the stack located in the Voltian Temple, a building designed on the lake at the beginning of the 20th century. The two collections were compared, on the one hand, was the celebratory way in which the display cases in science museums were set up, but the artist reproduced them in photographs that were deliberately out of focus. The result was a fragmentary, evocative vision. On the other hand, there were real objects that could be touched and even moved, arranged in an apparently unstructured way. Both collections shared the need and importance of a support in which to be kept and exhibited at the same time, support that, like the basis in the history of sculpture, is never completely neutral and influences the meaning of the objects on display.