The National Gallery in London is currently exhibiting a selection of Caravaggio’s paintings. The exhibition includes also those that imitated Caravaggio’s style. As I was given the space to compare Caravaggio’s work to his followers I understood which is the factor that glues me in front of any Caravaggio’s work: “the space in between”. When I stop in front of any of his work I have the feeling that the painting is meant to fill the space between myself and the canvas. The scene looks as a suspended action, not a frame, but something that is meant to continue . A looping tableau vivant that never gets completed and it is open to a plethora of interpretations. The way light, colours, characters are composed together makes the scene extend beyond the space of the canvas; time and the subject become relative. The space in between doesn’t have any shape; it is an intimate place that each viewer can design through observation. The space transcends any subject, wether religious or mythological. The subject is the pretest of a superficial interpretation; once indeed the subject disappears, the tension of the space in between bounds the viewer to the painting. The tension is made of different factors: light, position of the character, emergence of part of the scene that hides others, etc. The effect of the painting reaches my senses without any specific reason. The ability of the painter consists indeed in the creation of a suspended place that leaves any viewer the freedom of interpretation. Caravaggio must have been a good observer of street dwellers. His characters’ eyes, facial expressions and body’s posture are his language through which he designs theatrical scenes of chiaroscuros. I suppose that the universality that Caravaggio’s paintings give to any society is given by the freedom each of us has to imagine what we see in it, without any guideline. When visiting the exhibition try to have a go without audio guides!