Since 1995 this gallery has been located in the former Casa del Popolo, an example of Art Nouveau architecture dating from 1922–23.

On the first floor (temporary closed) can be found works by local artists such as Walter Sabatelli and Evrio Cicalini, and some gifts of work by Faraoni, Bueno, engravings by Guttuso, Dalí, and Picasso.
The rooms on the ground floor, including the large room with cast-iron columns, are used for temporary exhibitions, festivals, installations and video installations.

The Museo del Ferro e della Ghisa [Museum of iron and cast iron] in Follonica became MAGMA (Museo delle Arti in Ghisa nella Maremma) in June 2013 with an interactive display in the restored building of the former Forno San Ferdinando, located in the centre of the factory city.

The museum arose from the desire to tell the technological, artistic and human story of the iron works of Follonica that goes back to the nineteenth century but remained in production until the 1960s. On the first floor among other items to be seen are the moulds from the catalogue of cast-iron goods dating from the beginning of the twentieth century. The socio-cultural history on the second floor, dedicated to the community that grew up around the iron works, deals mainly with the twentieth century.
The story is told through multimedia interactive displays and immersive documentaries.

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This collection was given to the local council in 1999 by Angiolini Martini, an engineer and art collector from Massa Marittima.
It comprises about 700 paintings, drawings and graphic designs, from the nineteenth and twentieth centuries. It has found a permanent home, where the work can be shown in rotation, in the museum of San Pietro all’Orto.

The work in the collection was purchased on the art market and is quite heterogeneous, being the result of the personal taste of an art lover, often not backed up by any particular knowledge about the painters and the trends of the period. There have been a few problems of authenticity, not unusual in private collections and in any case an indication of changing tastes.
There are nevertheless a number of good quality works — post-Macchaioli, Italian pop art, Italian Transavantgarde, from artists such as Viani, Gentilini, Bueno, Guttuso, Possenti, Cassinari, Squillantini, Nespolo.

The Fuchs’ (1936) sculptures are prodigious physical undertakings for the artist who has hoisted them tens of metres into the air in spite of the weight of iron in them, so as to create magical effects of dematerialization in their spindly appearance, so high up and mobile (the Great indicator reaches a height of 31 metres).

Other sculptures along the paths and across the grass are made of stone and wood. They are all camouflaged by their natural surroundings where they are almost imperceptible. They rise up everywhere like “planted” bushes — in the paddock, along the edges of the meadow and the planted fields, amongst the Mediterranean macchia that surrounds the Bavarian artist’s home and studio.

Fuchs started installing them in 1996 with the idea of creating an itinerary in the woods where a dialogue might be set up in close harmony between art and nature. In addition to the high mobiles that emit a metallic rustling as they fluctuate in the wind (for example the Uccello del vento [Wind bird] and Visita dell’extraterrestre [Extraterrestrial visitor]), there are sculptures in the garden and others arranged in a room set up as a music room, where Fuchs turns them into musical instruments.
The sound comes out as if it were the sculpture’s voice and is attuned to the sounds of the woods that extend around the property for 12 hectares.

Hic Terminus Haeret (here is the end of all things) is the Latin motto that serves as subtitle to the foundation set up in 1997 by celebrated artist Daniel Spoerri (1930) who uses ready-made materials.

The ambiguity of the motto is typical of the artist’s passion for word-plays and attractions that generate opposing poles. Terminus, an epithet of Jupiter, also means “boundary”, the threshold between everyday reality and the artistic dimension, underlined by the verb “haeret” meaning to stick like glue, a fundamental material in Spoerri’s work. In the garden of 16 hectares snares and magical traces are encountered along the paths. The florid vegetation and the signs of man set up a fertile relationship, at times harmonious, at others strained. During a walk through this corner of Monte Amiata you therefore have the opportunity to observe an extraordinary variety of flora, views over the landscape that have stimulated artistic interventions directed by Spoerri.

More than 100 sculptures have been installed here, some by the artist, others by his famous friends (Tinguely, Aeppli, Paik, Barni, Soto etc.) or by artists whose poetic sensibilities fit with his in a great metaphor of existence.
Bronze is the preferred material, perfectly cast by specialist foundries (Caporella and later Vaghi). Visitors can stop and eat at the restaurant Non solo eat art … in the town where accommodation is also available.

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The idea for a sculpture garden came to Niki de Saint Phalle (1930–2002) in a dream in 1974. In the late 1970s her friends the Caracciolos allowed her to create her garden on the southern coast of Tuscany.

Space was found for her enormous habitable sculptures in the midst of the Mediterranean macchia, on a hillside made concave by an old quarry. The multicoloured citadel, partly a homage to Gaudí and to the Sacro Bosco of Bomarzo, was carefully laid out thanks to Jean Tinguely’s visionary engineering skills. He made the intricate metal skeleton overlaid with cement.

The sculptures are reached after passing through the entrance designed by Mario Botta. Visitors do not have to follow a set route.
The author has often compared it to a game of cards: a magical world where you encounter a universe of symbolic and dream-like symbols alongside the great variety of coloured ceramics, polyester, mirrors, cement, and plants. Sometimes Tinguely’s iron machines escape from the inside of the great multicoloured tarots with their mechanical impulses that create a sense of contradictions and balances typical of the collaborative working method of the two artists. The garden was finished in 1996 after Tinguely’s death (1991) with the help of a team of skilled artists. It opened to the public in 1998.

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In addition to organizing exhibitions and training programmes, the documentation centre was set up to showcase the art held by Grosseto Comune and to document the artistic heritage of the town and province of Grosseto from 1900 to the present day.

On the web site you can take a virtual tour of the town’s twentieth-century artistic heritage with works of art located in public offices, in the town hall, in the civic museum and in the foyer of the Teatro degli Industri. There are works of art by Paride Pascucci, a realist painter who trained in Siena and Rome, Sergio Vacchi (Fatalità dello specchio, 1984), the sculpture dedicated to the flood of 1966 by Orlandini, work by Zancanaro, Trubbiani, Bendini and others.