In search of a partition comprising things of the same nature
The lack of a universal criterion for recognizing artwork creates uncertainty. Naturally, by following the logical process that led to the creation of Sweet Home, one can identify elements that make its belonging to this set plausible. However, this is not convincing for those solely acquainted with regulations and category definitions.
The artistic status of an artifact like Sweet Home eludes due to preconceptions tied to function. The artwork doesn't operate and serves no practical purpose except to evoke emotions, provoke reflection, or challenge. Sweet Home floats, moves, and comes to a halt, embarking both people and ideas. It is architecture without foundations, a vessel without an engine and rudder, a sculpture without a pedestal, and notably, it is not obviously unique and unrepeatable.
Its potential movement, managed solely by the river during its floods, and the internal space of the artifact with its 34 square meters of walkable area are elements that escape the status of artwork but fall into easily identifiable and consequently regulatable categories, subject to control and management.

We are at the end of July with scorching heat and a drought unseen in recent decades. The Po River is dry, seawater travels upstream for many kilometers, destroying river ecosystems. Boats that until the previous winter floated anchored to the embankment are now on dry land, tilted to one side. A dense vegetation grows on the riverbed near the embankments.

Bureaucracy attacks the artwork with urgent and irrevocable certification requests: requirements for habitability, floating, and anchoring of the sculpture. The artwork could drift, sink, or even overturn in the presence of guests inside. An extraordinary confusion of roles and definitions for an artwork that, by blending with reality and lacking a frame or pedestal, becomes an object that loses all its conventional recognizability.

L'incerta natura dell'arte non è peraltro priva di vantaggi. Induce a sperimentare e a porsi continue domande. Gran parte dell'arte migliore rientra in un dibattito visivo vertente su ciò che è arte. (Rosemberg. La S-definizione dell'arte. trad. it di Vitta, M. Milano Feltrinelli, 1975, p.10)