Untitled

Polke employed screenprinting combined with flocking—a process that applies short fibers to adhesive areas to create a velvety texture. This hybrid technique disrupts the flatness typical of prints, introducing a physical, almost sculptural dimension. The choice of materials underscores his interest in the tension between mass production and handmade imperfection.

The work was produced as part of a series commissioned by the Griffelkunst-Vereinigung, a Hamburg-based organization promoting accessible graphic art. It entered The Museum of Modern Art’s collection shortly after its creation, reflecting institutional recognition of Polke’s experimental approach to print media in the late 1980s.

In the late 1980s, Polke was deepening his exploration of chemical processes, industrial materials, and the instability of images. This print emerged amid broader shifts in contemporary art, where artists questioned the authority of the image and embraced ambiguity. His use of flocking aligned with a broader interest in disrupting the purity of the printed surface.

Untitled exemplifies Polke’s influence on later generations of artists who prioritize material experimentation over symbolic content. Its inclusion in MoMA’s collection affirms its role in redefining printmaking as a site for sensory and conceptual inquiry, rather than mere reproduction.