Currently the sculptures of Arnaldo Pomodoro are not exposed to the public.

The nucleus of 28 fundamental works sculpted by Arnaldo Pomodoro from 1955 to the present, which he himself selected, documents the pivotal stages of his artistic research. The reliefs executed in the 1950s (Il giardino nero, 1956; Situazione vegetale n. 4,1957; Orizzonte 1957, n. 5; Tavola dei segni 1957, n. 2; Tavola dell'agrimensore 1958, n. 1) indicate that the artist transcended the prevailing culture of Art Informel and passed on to the concept of a sign that is ambiguous yet abounding with meaning.
The presentation of some of the most significant versions of Colonna del viaggiatore (La colonna del viaggiatore 1960, n. 1 and La colonna del viaggiatore 1965/66, n. 2) documents Pomodoro's recovery of the notion of the symbolic structure, which leads both sculpture and architecture back to a common root.
The artist's meditation on primary geometric models and his elaboration of Euclidean solids, which characterize his oeuvre and earned him international fame, are expressed in basic bronzes such as Il cubo 1961-1962, La ruota, 1961 and Sfera n. 1, which was exhibited for the first time at the 1963 Biennial of São Paulo, Brazil and is the artist's proof of the work that is part of the permanent collection of the Museum of Modern Art, New York.
The Foundation also has, in permanent storage, large-size sculptures executed in the 1970s and 1980s such as The Pietrarubbia Group, one of Pomodoro's finest works, in which he fully expresses his architectural and environmental inclination and aptitude, and Colpo d'ala, a tribute to the dynamism of Boccioni. Then there are the artist's studies and proofs of works on display in public spaces in Europe, the United States, Japan and Australia: noteworthy among these are the four Forme del mito - Il Potere, L'Ambizione, La Macchina and La Profezia, created for Emilio Isgrò's production of Aeschylus's Oresteia cycle staged in Gibellina and then installed on a permanent basis in Brisbane in 1988.
The collection also boasts the memorable Progetto per il nuovo cimitero di Urbino, 1973, which triggered one of the most heated debates in the post-war period regarding art created for public spaces.