Baghdad, like its companion works in this series, uses the lacquer-behind-glass technique to conjure a field of intense color resonant with the city's legendary status as a center of culture and imagination in the Islamic Golden Age. The title grounds the otherwise purely abstract composition in a specific place steeped in historical and mythological significance, characteristic of Richter's nuanced relationship between image and meaning. Applying lacquer to the reverse of glass allows color to appear suspended within the work, giving it a depth and luminosity unachievable with paint on canvas. The Alu-Dibond backing provides a modern, industrial foundation that contrasts productively with the work's evocative title. Together, the works in this series form a meditation on color, light, and cultural memory.