At the end of the reconstruction process after the Second World War, the world witness the United States economic triumph. The American society of that period has often been described as the “consumer culture”, that is to say built by men and women who by and consume. This model of social development spread rapidly over all the rich countries in West Europe and over to Japan, by becoming soon a subjective of which art takes possession under the name of “pop art”. The works of European and American artist are collected and as in the sixties, they are interested in the objects and myths of the modern world: car, comics and photos on magazines, movies and music stars. Forty years later “Uma” breaks into the artist scene with a neoclassical Canovian attitude. UMA’s strong point is really something new; as an archeologist he brings to light and interprets once more the emotions felt by using a daily object intended as artistic material, without standardization. In the dripping of UMA, in which the part painted is still informal, the “samples” coming from reality break away from the painting tissues, by having a deliberately irritating effect. More essential is the fact that UMA seems to be dwelling upon a simple and familiar subject as the dollar, which is the most famous currency and the drive behind the world, by making “painting” a subject that is usually not considered as pictorial. The image taken for granted has an effect similar to the ready-made of Dushamp. UMA, one of the most appreciated Italian informal painters, isolates the real objects on monochrome or wonderfully black-red canvases, by theatrically drifting the object slowly onto a territory of the fiction becoming a performance of itself. UMA, is the only Italian living painter who immerses himself from an intellectual point of view, to both the concept of cubism and futurism, as in the new era of globalization UMA criticizes and describes a world that is subjected to money. Present time (cubism) and at the same time, people imagine the future of the world (futurism). Whoever purchases a painting of UMA, buys a mirror. The real novelty is that, the buyer understands the artist has understood him/her and it does not occur the opposite case, were the purchaser tries to understand the artist.