“One of Pozzo’s most famous paintings, Cosmopoli, displayed at the Futurist exhibition in Milan's Galleria Pesaro in 1927, represents an unquestionable adherence to the myth of mechanical art. This myth characterizes Futurist studies during a great part of the Twenties (The Prampolini, Paladini and Pannaggi Manifesto of 1922). Nevertheless, a very strong imaginative provocation that is crowded and like a human hive, is immediately noticeable in his paintings between the two wars. It is almost like dizziness in a rotating framework that is part of one of the most radically and exasperatingly city-like horizons. These features are found and moreover have a hint of the psychological "malaise" of Charlie Chaplin present in the 1930 Venice Biennale.”

Enrico Crispolti, 1970