Using vibrant colors and nonrepresentational forms, Minoliti cites the visual language of geometric abstraction in this work. Thick fields of yellow, black, brown and green dominate the canvas, offset by accents of red, violet, pink, orange and blue. Visual abstraction merges with a suggestion of figuration, in order to complicate the rigid distinctions between artistic genres so often determined by patriarchal values. The most striking part of this composition is indeed the suggested human forms that fill it: to the upper right of the painting are overlapping rounded shapes that containing smaller ovoid forms, the effect like the unblinking eye of a strange animal or person. A leg in silhouette extends vertically along the left side of the canvas, its calf and graceful toes exaggeratedly round. Although two dimensional, the forms in this work appear to overlap as though mimicking the effects of paper collage. The references to historical modernism are also an effort to subvert modernism's masculine legacies: Minoliti’s experimentation in queering geometry relates to the Feminist School of Painting that they founded with the principle that art and education should be accessible.