Compact yet commanding, Neo-concreto 120 presents a dense rectangular block of raw concrete punctuated by vivid fragments of coloured glass, a pairing that places industrial weight in direct conversation with chromatic luminosity. Batchelor has long been preoccupied with colour as something found and salvaged rather than applied from a tube, and here that philosophy achieves one of its most concentrated forms. The embedded glass catches and refracts ambient light in ways that shift with the viewing position, so the work rewards prolonged attention and resists any single definitive reading. Produced in 2016, the piece belongs to a body of work in which Batchelor draws deliberately on the legacy of the Brazilian Neo-Concrete movement, whose artists of the late 1950s and 1960s sought to reinstate bodily experience and phenomenological engagement within geometric abstraction. The title is therefore both a direct homage and a critical continuation, transplanting those concerns into a more overtly urban and everyday material vocabulary. Concrete, for Batchelor, carries the residue of the street and the city rather than the studio, lending the work an honest, unprecious quality that distinguishes it from more polished sculptural objects. At just 32 by 10 by 5 centimetres, Neo-concreto 120 is scaled for intimate domestic or office display, yet its conceptual reach extends well beyond its modest footprint. Offered through Galeria Leme in São Paulo and signed by the artist, this is a significant and collectible work from a practice that has earned international recognition through major institutional surveys and permanent collection acquisitions. Its small format makes it highly versatile in placement while retaining the full intellectual and visual force characteristic of Batchelor's broader output.