This article deals with three different interlaced topics: 1) a fairly philological question: the reason why the
Italian critic Achille Bonito Oliva used a definition («groups of armed sensitivity») in a 1977 articles, and
the reason of its disappearance in an editorial release issued after Aldo Moro’s murder; 2) the redefinition
of the lexical field of Italian art criticism, and the artistic strategy before and after the crucial biennium
1977-1978; 3) being part of the author point of view, the role of the direct memories - especially, that of pop
music - entangled with that events.
