Museo Ideale Leonardo da Vinci inattendue" (Clos-Lucé-Amboise, 2007); "Leonardo a Firenze" (2008); "AND THERE WAS LIGHT, Michelangelo, Leonardo, Raphael. The Masters of Renaissance, seen in a New Light" (Gothenborg, 2010); "Leonardo a Piombino" (2011); "La Gioconda è nuda" (Brindisi, 2011); "Mona Lisa Unveiled" (Miami, 2011); "Leonardo and the idea of beauty" (Shizuoka, Fukuoka, Tokyo, with the "Scapiliata", 2011-2012); "The great masters. Michelangelo, Raphael, Leonardo" (Istanbul, 2012); "Leonardo-Mona Lisa-The Myths" (Kaohsiung, 2013; Taipei 2013-2014);"Leonardo Da Vinci. Beyond the visible" (Edo Tokyo Museum, 2016); “Da Clos Lucé al Louvre, i tre capolavori di Leonardo Da Vinci” (Du Clos Lucé au Louvre, les trois chefs-d’œuvre de Léonard de
Criticism of The Da Vinci Code that it is simply a masterful portrait of a woman. Olson and Meisel also take issue with the idea that Leonardo painted the "Mona Lisa" as a self-portrait, and that this idea is based on the fact that points of congruency are found between Leonardo's face and the Mona Lisa's. Olson and Meisel respond that points of congruency can be found among many faces, which is how computer morphing of faces is facilitated. The title of the book is not consistent with naming conventions, because "Da Vinci" was not Leonardo's surname. As Tom Chivers of "The Daily Telegraph" comments, "[Leonardo]