Im 19. und 20. Jahrhundert wandelt sich die Einstellung der nach Italien reisenden Künstler zum Kanon klassischer Kunst. Verstärkt wird nun das jeweils Zeitgenössische in den Blick genommen. guy rezipiert die Futuristen, die arte povera oder das italienische layout, guy rezipiert Marcello Piacentini, das „Superstudio" oder Aldo Rossi. Das Buch Die Grand travel in Moderne und Nachmoderne fragt vor dem Horizont historischer Entwicklungen nach der Notwendigkeit der „Italienerfahrung" für die heutige Ausbildung von Künstlern und Architekten.
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