On Aug. 1, 1976, at the Lido di Venezia, a lively debate occurred between architects from Europe and America on the grounds of the heredity of the Modern Movement. With the enigmatic title 'Quale Movimento Moderno' ('Which Modern Movement'), the discussion accompanied the exhibition 'Europa / America: architettura urbana, alternative suburbane', a display of works by 25 selected European and American architects [the Europeans were: Carlo Aymonino, AUA, Giancarlo De Carlo, Herman Hertzberger, Hans Hollein, Lucien Kroll, Joseph Martorell & Oriol Bohigas, David Mackay, Aldo Rossi, Alvaro Siza, Alison & Peter Smithson, James Stirling, Taller de Architectura (Ricardo Bofill), Oswald Mathias Ungers, Aldo Van Eyck. The Americans were: Raimund Abraham, Emilio Ambasz, Peter Eisenman, John Hejduk, Craig Edward Hodgetts, Richard Meier, Charles Moore, Cesar Pelli, Robert A.M. Stern, Stanley Tigerman, Robert Venturi & John Rauch & Denise Scott Brown]. Organized by the Italian architect Vittorio Gregotti on the occasion of the XXXVIIth Biennale di Venezia, this show coincided with a key moment in architectural history. It implied a double confrontation: the first one directly ensuing from the dialectical form of the exhibition which opposed the Americans against the Europeans; while the second one, perhaps more subtle and fortuitous, was a generational shock between the so-called Team X group (including people like Van Eyck, De Carlo and The Smithsons) and the younger generation (including Tafuri, but also people like Rossi, Eisenman, or Stern). Taking place around a year before Charles Jencks's first publication of The Language of Post-Modern Architecture and four years before the 1980 Venice Biennale exhibition on postmodernism, 'Europa/America' marked a definite change of direction in architecture.