Untitled

Manso assembled the piece by cutting and adhering painted fabric and paper onto cardboard, allowing the raw edges and surface imperfections to remain exposed. The materials—some resembling worn denim, others paint-splattered—were chosen for their tactile qualities. The technique prioritizes texture over form, aligning with postwar abstract practices that valued material presence over illusionistic depth.

This work was produced in 1962 during a period when Manso was actively engaged in both painting and book illustration. It entered the collection of The Museum of Modern Art shortly after its creation, reflecting institutional interest in experimental collage practices of the era. Its preservation as part of a major public collection underscores its significance within mid-century American abstract art.

Manso’s approach reflects broader trends in 1960s American art, where artists turned to everyday materials to challenge traditional boundaries between painting, sculpture, and drawing. His use of worn textiles and paper echoes contemporaneous practices by artists like Robert Rauschenberg and Louise Nevelson, who similarly valued the expressive potential of found and altered objects.

Though not widely exhibited, this work contributes to the understanding of collage as a serious medium within postwar abstraction. Its inclusion in MoMA’s collection affirms its role in documenting the era’s interest in material experimentation. Manso’s quiet, tactile approach continues to inform contemporary artists who prioritize process and material history over formal resolution.