The painting brings together two seemingly contradictory concepts, which are both, however, essential to the work of Ràfols-Casamada. The first is the architectural sense that informs his painting, as seen in the hierarchical arrangement of dense, saturated colour and in the format of the rhomboid canvas itself. The second concept relates to the integration of linguistic elements taken from newspapers and magazines along with unexpected everyday objects. This is an aspect that played an increasingly important role in the artist’s work during the late 1960s and early 1970s. Rather than an exploration of a Pop aesthetic, it is a personal approach to Structuralist writings on language as well as to certain sociological reflections that had great resonance at the time, from Susan Sontag’s essay “Notes on ‘Camp’” to Umberto Eco’s Apocalyptic and Integrated Intellectuals, to name a few.