The work consisted in three embroideries that transform the Americas, Asia and Europe into a colourful interweaving of threads, almost as if the grandeur of the large continents had been reduced to simple doilies. As stated in the title, Global Plots, the work is a reflection on how distances have been shortened and speed increased in the globalised society, which means that the risk of viruses and pandemics spreading is also greater, as was the case with the swine flu that started in Mexico, the ‘chicken flu’ (Sars), which spread in Asia, and the so-called ‘mad-cow’ disease that developed in Europe. The ‘mad-cow’ disease is one that is fatal, attacking the brain but, “in spite of the psychosis that became manifest in public opinion connected to possible contagion of the disease by eating beef, this disease remained an extremely rare occurrence and there was no epidemic”. Sars, on the other hand, was a kind of “atypical pneumonia” that generated excessive fear worldwide, so much so that the biologist David Baltimore and the scientist David Ho said: “the fear of Sars isovertaking Sars itself”, in reference to the widespread panic, “with the total blockage of international travel, the economic collapse of countries afflicted by contagion, and paralysis of relations”. The last pandemic was the swine flu that, unlike previous outbreaks, was contagious but without any serious pathogenic effects; nevertheless, the alarm levels worldwide were extremely high, also owing to the fact that in May 2009 the WHO (World Health Organisation) had modified the definition of pandemic, eliminating characteristics such as the factor of ‘morbidity’ and ‘high number of fatalities, thus making it similar to a simple epidemic of seasonal flu. Such semantic ambiguity can cause chaos, making people believe the risk is greater than it actually is; the spectre of possible contagion may degenerate into a “collective psychosis”, which can then be easily exploited in terms of economic and governmental interests. Following the lines of conceptual art, the artist entrusts the artisan creation of the embroidery for her Global Plots to a third party. In the economics of the work the artist’s manual intervention is unimportant, as her role was the pure conception of the work and how it was to be expressed in relation to the message it was to transmit: With its thread stitches, embroidery is like the network we are all part of, whether we like it or not. As shown earlier, nobody can be an outsider anymore, and whatever happens in one part of the world, has repercussions on the entire planet: If we pull a thread, it will inevitably upset the balance of another piece of the embroidery.