Guido Guidi made two trips to Sardinia separated by forty years. In 1974, on his honeymoon, he drove a FIAT 127 and worked with a Nikon F, producing black-and-white photographs that register the island’s social and political climate in the years after the 1960s. He returned in 2011 with a Hasselblad, a Deardorff 8×10, and a digital Canon, and in colour. In Sardegna, 1974, 2011 holds both encounters together, not as a before-and-after survey but as a sustained looking at how a place, a photographer, and photographic means change.

Published by MACK in 2019 and co-published with the MAN Museum in Nuoro, Sardinia, the book is issued as three paperback volumes in a slipcase. Each volume includes a tipped-in photograph, and a bilingual booklet accompanies the set. At 424 pages and 30 x 24 cm, it is a substantial object: enough space for sequences to breathe, and enough apparatus to frame the project’s two moments without reducing them to anecdote.

The contrast is legible but not schematic. The 1974 pictures belong to a documentary mode shaped by post-sixties Italy; the 2011 work shows Guidi’s later colour, tender and almost resigned, and his shift among formats. What unites the two bodies is attention to ordinary structures—roads, walls, interiors, horizons—and to the way a remote island absorbs and resists historical change. The set lets viewers track stylistic development alongside shifts in the place itself.

For a collector, the interest lies in this long view. The publication documents a forty-year span in one artist’s relation to a single terrain, and the three-volume form makes comparison a physical experience rather than an implied one. The tipped-in photographs and bilingual booklet add context, while the museum co-publication anchors the project in an institutional frame. It is a considered addition for shelves concerned with Italian photography, landscape, and the photobook as a site of sequence and return.