Museion in Bolzano has opened RAMM:ELL:ZEE. TIME:LINE, on view from October 17, 2026 to March 14, 2027, the third and final stage of a retrospective that began at the Palais de Tokyo in Paris and continued at the CAPC in Bordeaux. Curated by Hugo Vitrani and Cédric Fauq, with exhibition design by Pascal Rodriguez across the museum's third and fourth floors, the Bolzano chapter follows a thread the earlier venues left aside: the trips and exhibitions that brought the artist to Milan, Bologna and Martina Franca. Where Paris immersed visitors in his materials and Bordeaux set his work beside some forty artists from different generations, Bolzano projects the whole story onto a timeline. Four parallel chronologies run through the rooms, tracing his life, his art, science and technology, and society and politics, so that every object finds its place in a wider history. The show also extends The Softest Hard, Museion's research line on art as nonviolent resistance, launched in 2025 with Graffiti, the first institutional survey of its kind in Italy. RAMMELLZEE, born in 1960 in Far Rockaway, Queens, and dead in 2010, was central to that survey, and in Bolzano he takes over the whole building. He is presented as a theorist as much as a maker: his 1979 treatise on Gothic Futurism drew a genealogy from medieval manuscript illuminators to the writers who painted New York subway cars, and his doctrine of Ikonoklast Panzerism treated language as an instrument of control to be attacked letter by letter. The exhibition gives his warrior alphabet a body through the Letter Racers, squadrons assembled from toys, dolls and recycled fragments, and through the Garbage Gods, the pantheon of deities he built from street materials from 1994 onward. At the centre stands Gasholear, the 150-kilo sculptural exoskeleton he worked on for years and wore in exhausting public performances, complete with flamethrower, rocket launchers and a sound system. Nearby, the mirrored pyramid he designed with his wife to hold his ashes appears alongside crown-bracelets found in his storage and shown in public for the first time. A film by Rolf Waeber and Andreas Honegger records his working process at close range.