This striking work presents a silhouetted human form rendered in luminous fluorescent yellow against a transparent plexiglass ground, the figure cropped and fragmented so that only the upper torso, shoulder, and profile of a tilted head remain legible. Two small geometric shapes, a trapezoid and a quadrilateral, hover within the yellow field, suggesting cut or lifted sections of the material plane itself. The composition is mounted between two sheets of clear plexiglass secured by visible metal screws at the corners and edges, creating a shallow but deliberate sense of depth that allows the wall behind to participate in the reading of the work. The silkscreened image hovers in this translucent sandwich, simultaneously flat and dimensional, image and object. Lourdes Castro developed her shadow and silhouette works through deep engagement with the Zero and Nouvelle Tendance movements during the 1960s, and this piece reflects her sustained investigation into the limits of presence and absence, visibility and transparency. By reducing the human body to a vivid outline drained of all individual feature or expression, Castro transforms portraiture into something closer to a philosophical proposition. The body becomes pure contour, a trace rather than a likeness, and the use of fluorescent yellow gives that absence a paradoxical intensity, luminous and insistent rather than muted or elegiac. The small geometric fragments within the composition introduce an element of play and formal self-consciousness, hinting at the material processes behind the image while also suggesting the fragmented or constructed nature of identity itself. Works from this period of Castro's practice are held in significant international museum collections, and examples from her plexiglass silhouette series have appeared in major retrospective exhibitions devoted to both post-war European abstraction and the histories of kinetic and light-based art. The 1968 date places this piece at a particularly fertile moment in Castro's career, when she was working out of Paris and in close dialogue with artists and theorists at the forefront of European experimentalism. The intimacy of the format, fifty centimeters square, combined with the material precision of the fabrication, makes this a work that rewards sustained close attention. It is at once delicate and boldly graphic, personal in subject and rigorously conceptual in method, and represents a highly desirable entry point into one of the most distinctive bodies of work produced within the European avant-garde of the late twentieth century.