Rendered in acrylic on a generous sheet of paper measuring nearly one and a half by two and a half meters, Couple-love presents two figures locked in a charged confrontation across an expansive field of white. On the left, a turbulent form erupts in black, yellow, green, and blue, its gestural energy barely contained within the picture plane, angular bolts and slashing brushstrokes suggesting both aggression and vulnerability in equal measure. On the right, a quieter but no less unsettling presence takes shape in flat pink, its silhouette punctuated by hard-edged black triangles that read simultaneously as wounds, shadows, and decorative marks. Between them, the word LOVE appears in bold yellow lettering, positioned not as resolution but as provocation, a blunt caption that complicates rather than clarifies the dynamic unfolding above it. Milan Knížák, one of the most significant figures to emerge from the Czech neo-avant-garde, brings to this work the full weight of a practice shaped by Fluxus experimentation, institutional confrontation, and a lifelong inquiry into the relationship between sensation and meaning. Active since the early 1960s with his radical Aktual movement in Prague, Knížák consistently challenged the boundaries between art, performance, and everyday life, and this painting reflects that sensibility through its collision of raw painterly impulse with graphic economy. The left figure draws on the expressive freedom of Abstract Expressionism while the right figure, with its flat color and geometric interruptions, evokes the visual language of signage, costume, or cut-out, suggesting two modes of being and two modes of representation in dialogue with one another. Executed in 1987, during the final years of Czechoslovak normalization, Couple-love carries an undercurrent of political and psychological tension that deepens its ostensibly universal subject. The figures do not touch, do not resolve, and the declarative presence of the word love sits between them like a question rather than an answer. Works from this period of Knížák's output are held in major European institutional collections, and large-scale works on paper of this quality and scale are increasingly rare on the market. For collectors drawn to the intersection of European neo-avant-garde practice, gestural painting, and conceptual provocation, this work represents a compelling and historically resonant acquisition.