“Pozzo did not only see design as a problematic premise to painting, but also as a tool used for a wide variety of functional jobs related to graphic design, specifically in advertising. In this way a completed applied Futurist graphic art exhibition would no doubt give this aspect of Pozzo’s creative work a great deal of importance.  This is not only due to his work in advertising within the group (for Fillia's literary publications, "Sensualità," etc…, for an array of catalogues, periodicals such as "Stile Futurista" and for the book cover of Fillia’s own famous book "Gli ambienti della Nuova Architettura," 1935), but also in his professional work (for the Edizioni Fratelli Bocca, the Eco della Stampa and various companies). In the Thirties Pozzo started a fashion linked to a unique penetrative imagination. Initially, it was tied to the substantial stylism of the mechanical period (during which the likes of famous paintings such as the 1925 Cosmopoli were produced).”

Enrico Crispolti, 1976.