The title of the show, “Spazio Disponibile,” is an Italian expression that deciphers as “Available Space”; it alludes to the commercial spaces offered by an administration magazine to organizations during the prime of Italian expansionism. This emphasis on Eritrea’s previous provincial force is more clear while considering the 38 prints mounted on a long isolating divider, every one of which is a page from the diary Rivista Coloniale, the broadly circled official mouthpiece of the Italian pilgrim government distributed somewhere in the range of 1906 and 1943, educating Italians living in the states or abroad about the economy of their nation. One arrangement of monochrome color prints, named “The steady re-recounting the future before”, is a group of authentic pictures machines, farmhands, parades, a downtown area brimming with new vehicles, a Fiat plant taken in Asmara, Eritrea’s capital city, at some point during the Italian occupation. By the mid-Thirties, Italy’s pilgrim endeavor was known as the Empire of Oriental Africa, including the Horn of Africa, Libya, the Dodecanese Islands, and Albania. In All at One Point, a two-channel video by Petros, the voice of a man in Asmara is compared with the film of Casa d’Italia, a public venue worked in Montreal by the Italian Consul General with assets from 37 Italian associations. Later in the film, the craftsman’s namesake reacts to a photo of Casa d’Italia. On the right, there is a nearby of the solid squares, adding up to four, and a litter of stones. By comparing the photos taken in both Catania and Nefasit, Petros recommends an association between the movement of East Africans to Italy and the tradition of expansionism. In her subsequent novel, The Shadow King, shortlisted for the Man Booker Prize, the story is an epic retelling of the war battled during Mussolini’s 1935 attack of Ethiopia, an account of the valor of Ethiopian ladies who waged war close by their spouses or bosses, of the villainy of the men on the two sides, and of a weapon as considerable as some other the camera, a contraption used to make pictures that could support Italian publicity and keep the warriors tantalized on the war zone. Detail 1: 1939 Preoccupations The last part of The Shadow King is named “Photograph,” and it is one of almost twelve independent areas in the novel in which photos are portrayed with account vignettes. In a wonderful sign of the scholarly proclivity among Mengiste and Petros, in one of the photographic prints from Rivista Coloniale showed in “Spazio Disponibile,” a lady holds a rifle. Mengiste writes in The Shadow King of photos of ladies fighters: They are made into postcards and dropped to [the Italian colonel’s] men.