The visitor enters and immediately finds the beauty, the elegance and the dignity of McCurry's portraits. The visitor is immediately thrown into a relationship with "the other", with the person in the most absolute meaning of the word: McCurry has always emphasized the indispensable value that human dignity has for him.

A fundamental theme of the section is traveling through cultures and silence. McCurry's photos portray people praying, setting of silence. The traveler follows and lives together with the artist not only on his physical journeys in the different countries he visited but also in the astonishment before the relationship of human beings with the Absolute.

After returning from a journey in Tibet, on September 10th 2001, Steve McCurry witnessed, on the following day from the window of his office in New York, the destruction of the Twin Towers. A sudden, shocking event: from the silence of the journey together with the Dalai Lama to the scene of the fall of the Towers. These photos are found near other photos that also tell of war, of the drama of humanity against humanity. There is no rhetoric in this section. Tragedy is filled with "poetry", pain is transfigured by the harmony of the images. This tree is the heart of the exhibition. Beauty and tragedy intertwine, portraying the mystery of human condition on earth.

The fourth tree is the end of the war. McCurry's photos immortalize sceneries of joy, intensity of color, life flowing. There is no rhetoric here either. Beauty is poetic beauty, as if the interruption of war couldn't have affected the essence of life at its core.

The fifth section makes the visitor reflect on one the most dramatic themes of the history of humanity: the exploitation of children, which finds, in children-soldiers, the height of its representation.
The section also indicates that perhaps there cannot be real joy without a full understanding of pain. The photos of children forced to renounce their childhood are transfixing: from astonishment to fear, from solitude to the need of adopting an artificial adult look.

The exhibition ends with three pictures, one of which is the famous picture of a green-eyed Afghan girl which is now part of the history of photography. The other two portraits, also of girls, complete the knowledge of the journey and work of McCurry. If the photographer is famous throughout the world for some icons, among which the one of the Afghan girl, the exhibition helps the visitor to discover other equally phenomenal photos. The intention of the curator is thus to return a complete portrayal, this time of the artist himself.