This untitled decollage from 1971 presents a vivid accumulation of torn and layered street posters affixed to canvas, their surfaces abraded and peeled to reveal strata of competing imagery and fragmented typography. Words like "PARIS," "ART," and "ELEMENT" emerge from the wreckage of what were once complete advertisements, their meanings suspended between legibility and abstraction. The palette is surprisingly alive, with acid greens, warm siennas, yellow, teal, and coral asserting themselves through rips and tears that read simultaneously as destruction and composition. A ghostly figural image, likely drawn from an earlier commercial poster, haunts the left-center of the work, partially obscured beneath successive layers of paper and time. Raymond Hains was among the founding figures of the Nouveau Réalisme movement, the group formally established by critic Pierre Restany in 1960 alongside Yves Klein, Jean Tinguely, and others, who sought to incorporate the materials and energies of modern urban life directly into art. Hains had been harvesting lacerated posters from the walls of Paris since the late 1940s, long before the movement coalesced around him, treating the city itself as a readymade studio. His process, known as décollage, inverts the additive logic of collage by working through subtraction and revelation, letting chance, weather, and the hands of anonymous passersby contribute to the final image. The canvas support here elevates what might otherwise be considered ephemeral street detritus into an object with the physical authority of painting. By 1971, Hains had refined his practice to a point where the apparent disorder of accumulated posters yielded compositions of genuine pictorial sophistication. This work balances its chromatic intensity against the muted, papery grounds that anchor it, and the typographic fragments function both as formal elements and as oblique cultural commentary on the saturation of urban public space by commercial language. Collectors who engage with Arte Povera, American Neo-Dada, or the broader history of appropriation will find this work a significant and historically grounded example of how postwar European artists reimagined the relationship between art, the street, and the everyday. It is a work that rewards prolonged looking, offering new details and layered meanings as the eye moves across its richly worked surface.