Evan De Vilde reminds to everybody Cesare Brandi's famous sentence: "Restauration is the methodological moment in which a piece of art is recognized in its physical consistency and in its twofold aesthetic/historic polarity, with a view to passing it on to the future". This is a key issue in the archaeorealism field, a large-scale artistic concept based on using archaeological finds to install ancient art in a modern, current, contemporary environment. From this perspective, Evan De Vilde's conceptual art is based on the presupposition that the background (i.e. archaeological or antique) work is a core element that must be respected and in no way notched by the contemporary creative process. So that every piece of art is conceived in accordance with the axiom stating that an archaeological asset, even though included in a contemporary work, can be recovered to its full integrity and then returned intact to future generations. This applies to tear documents of ancient scrolls and to XVI century's incunabula manuscripts, as well as to the series of Byzantine crosses or Tibetan sutras. Who are we, in the XXI century, to tarnish, tear, destroy a piece of art as ancient as time? What right or artistic license do we, contemporary artists, have to bend ancient memory to our likeness and image? It is with the following words that the artist Evan De Vilde starts one of his lectures at Palazzo Gravina during a convention on the memory of art while speaking about his new "art invention" whose name had already been set: archaeorealism. <<In a new perspective conception of the picture, I create a perspective that allows me to direct the observer's gaze towards both the past (i.e. the archaeological find) and the future (i.e. memory preservation for future generations) in an optical fulcrum centered on the contemporary, playing on present history concepts, thus making it both possible to take an ancient find into present day and take a contemporary history event into the past.>> (Evan De Vilde). Without betraying the aim of archaeological finds preservation, since in his first axiom of archaeorealism it is understood that the ancient object shall never be distorted nor notched, and without ever betraying contemporary art, i.e. conceiving an historical phenomenon into a symbolic object such as an archaeological object can be, Evan De Vilde merged ancient history with modern history. History within history, levels pursuing one another, including one into another, without ever reaching one another.