This untitled work from 1972 presents a vivid collision of saturated color fields, where deep cobalt blue, luminous green, hot pink, and soft violet expand across emulsified canvas before being interrupted and partially consumed by bold passages of black. The composition operates through contrast and tension, with organic, almost cellular forms of color bleeding into one another at their edges while the black layer above pushes back with a fractured, dispersing quality, as though the pigment itself is caught in a state of dissolution. Rounded corners give the overall field a softened, almost cinematic framing, reinforcing the sense that one is looking through a lens rather than at a flat surface. The perspex overlay adds a further remove, a cool transparency that separates the viewer from the raw materiality of the aniline beneath while simultaneously amplifying the luminosity of the colors. Mario Schifano made this work during one of the most productive and formally inventive periods of his career, when his practice was deeply engaged with the mediated nature of contemporary experience, the layering of perception through television, photography, and popular visual culture. The aniline dyes he favored in this period were chosen precisely for their intensity and their behavior on emulsified surfaces, spreading in ways that resisted total control, producing a quality that sits between the deliberate and the accidental. The result is a surface that carries both the directness of gesture and the ambiguity of an image remembered rather than observed. Schifano was never a painter of purely formal concerns, and even in works without explicit figuration there is a sense of something perceived, filtered, and transmitted rather than invented from abstraction alone. Works from this precise moment in Schifano's output are increasingly sought by collectors who understand his central position in postwar Italian art and his lasting influence on subsequent generations. His ability to synthesize American influences, particularly the color field painters and the Pop sensibility he encountered firsthand during his time in New York, with a distinctly Mediterranean sensibility produced a body of work unlike that of any of his contemporaries. This example, at a commanding 80 by 110 centimeters, carries genuine presence and would hold its own in any serious collection of European art from the 1960s and 1970s.