Artwork
Untitled
Untitled is an ink print by Manuel de la Fuente. It dates from 1978 and is held in the collection of the Museum of Modern Art.
About this work
Overview
The work presents two vertical forms composed of densely packed, repetitive silhouettes, rendered in high-contrast black ink on a light ground.
Created in 1978, Untitled is a screenprint by Mexican artist Manuel de la Fuente. It resides in the collection of The Museum of Modern Art in New York. The work presents two vertical forms composed of densely packed, repetitive silhouettes, rendered in high-contrast black ink on a light ground. Its composition suggests architectural massing or aggregated human figures, evoking urban density without literal representation.
Subject & Meaning
The twin towers in the print do not depict specific structures but rather abstract accumulations of form. Their crowded, overlapping shapes imply collective presence—perhaps crowds, housing units, or anonymous laborers. The leaning posture introduces tension, hinting at fragility or imbalance within systems of organization. The absence of detail invites interpretation, emphasizing structure over narrative.
Technique & Style
De la Fuente employed screenprinting to layer repeated stencil motifs, creating a rhythmic yet irregular texture. The hand-drawn quality of the silhouettes and uneven ink application give the surface a raw, tactile urgency. The stark contrast between dense black and minimal background amplifies the sense of compression, while the irregular edges resist mechanical precision, preserving the artist’s manual intervention.
History & Provenance
The print was produced in 1978 during a period when de la Fuente was actively engaged with printmaking as a medium for social observation. It entered The Museum of Modern Art’s collection shortly after its creation, reflecting institutional interest in postwar Latin American printmakers. No earlier ownership records are publicly documented, suggesting direct acquisition from the artist or his gallery.
Context
Made during Mexico’s urban expansion and global debates over housing and labor, the work aligns with broader artistic inquiries into mass society. De la Fuente’s approach echoes contemporaneous printmakers who used repetition to critique anonymity in modern life. Unlike political posters of the era, however, this piece avoids overt messaging, favoring visual metaphor over direct commentary.
Legacy
Untitled remains a representative example of de la Fuente’s contribution to mid-to-late 20th-century printmaking. It is frequently cited in studies of Mexican graphic art that prioritize formal experimentation over ideological declaration. While not widely reproduced, its presence in MoMA’s collection ensures its continued visibility within discussions of non-Western modernist print practices.
Artist & collection
