In 1979 the Nuovo Spazio gallery celebrated ten years of continuous activity, with a review that presented almost all the artists in whom Chinese had so far taken an interest. On this occasion a number of interviews appeared in the press, in which he traced the history of the gallery and described his personal concept of the cultural functions of a modern art dealer.

He published a folder containing works by Bortoluzzi, Korompay, Zigaina, to which he wrote the introduction which is also a manifest of the criteria he adopts in his work. This text by Chinese would later be shared by many artists and intellectuals who would countersign it, bearing explicit witness to their support of the moral and cultural aims of the gallery owner. Chinese was, in fact, an esteemed colleague with whom many of them had exhibited at various times. They had entrusted him with the task of representing them at the art fairs which had begun to appear in Italy. In the summer, while he was about to leave for the Fiera del Levante which had been held for some years, he received the news that his brother Renzo had been seriously injured in an accident at work. Concerned, he immediately joined his family in Friuli, who would be further distressed only a few months later by the sudden death of the father. He found a moment of serenity with the birth of his first daughter. He tells of these events in the autobiographical volume entitled, “Io, Chi?” [Who am I?], published in 1981 by Italia Letteraria with a wonderful preface written by his friend Zigaina. With great frankness the author describes his existence, the past events, the meetings and the exchanges with the artists, the vocation for living in symbiosis with characters who are in some way élite, who he admires profoundly for their spiritual consonance.

He worked with ever greater intensity on his artistic productions, but he never renounced organising exhibitions of national importance, positively commented by the specialised press, presenting a cycle of works from 1943 to 1976 by Zoran Music and an exhibition of modern Japanese artists. At the same time, he cultivated a passion of the environment of his beloved lagoon, which he often sailed in a small boat. Here he would find inspiration for a luminous chromatism of iridescent reflections that he would evocatively transfer to the cadenced geometries of an absolute spatiality of images. He travelled continuously, visiting exhibitions and artists’ studios, establishing friendships and working relationships, and making contact with the principal Italian collectors in order to plan further exhibitions. Unfortunately, in 1985 his mother, to whom he was particularly close, died leaving an immense void, because he had always tried to live up to her example and would have liked to emulate her extraordinary personal qualities, her sensitivity and lively intelligence.

In 1986 during an exhibition at Palazzo Grassi, “Futurism-Futurists”, he organised an extraordinary anthology of Tullio Crali, with no less than sixty-two paintings from various periods, an event of considerable importance in the Italian and international fields. He followed with equal interest the development of certain young European artists, almost unknown in their own countries, but who would soon make a reputation for themselves, with truly surprising results.  With great generosity, Chinese felt he was more destined to support young artists, many of great value, than to promote his own artistic work. A work, moreover, that had developed in an increasingly independent language which was characterised by the need to experiment centred on trying out other materials, overcoming the two-dimensions of the canvas to create plastic effects with greater constructive efficacy.