Untitled

Executed as an offset lithograph, the piece employs the lithographic process’s capacity for precise tonal variation. The artist renders the metallic guillotine in cool gray‑brown washes, while the botanical elements are achieved through layered, saturated inks that convey texture and depth. The overall aesthetic balances stark realism with a decorative, almost ornamental quality.

The print entered the collection of the Museum of Modern Art, where it remains part of the institution’s holdings. Its acquisition reflects MoMA’s interest in works that merge conceptual concerns with printmaking, and it underscores the museum’s commitment to documenting late‑20th‑century collaborative practices.

Produced in the late 1980s, the work aligns with Finlay’s broader practice of integrating text, sculpture, and garden design to interrogate historical narratives. The inclusion of a guillotine references revolutionary iconography, while the surrounding flora resonates with Finlay’s recurring garden motifs, situating the piece within a lineage of art that merges political symbolism with natural settings.