Each signed on the verso.
There are two cracks and damage on the left panel.

Naoyoshi Hikosaka (1947 - ), who was a key member of the anti-establishment movement “Bijutsuka Kyōtō Kaigi” formed in 1969, is one of the artists who have led Japanese conceptual art by questioning the existing framework of artistic expression. He is best known for works such as “Floor Event” (1970), in which he documented a series of acts of sprinkling latex on the floor of his home until it dried.

In the late 1970s, as the activities of the movement came to an end, Hikosaka began to develop the Wood series under the concept of “practice”  to explore a new style of painting. Like haiku phrases, the works, which are painted by combining multiple supports (wood) coated with colourful paints, are meant as a work of reinterpretation of artistic expression that was once dematerialized in the 1960s. This work, created in 1985, is a part of the series mentioned above. The work is a conceptual painting that retains its concreteness, consisting of a film of paint and three cut-out and incised supports with convexities and concavities. This work was exhibited at the 19th São Paulo Biennale held in São Paulo, Brazil, in 1987, and can be considered one of the most monumental pieces in Hikosaka's body of work.

“Contemporary Asian Art Show, Seoul”, 1986, the National Museum of Contemporary Art, Seoul
“19ª Bienal Internacional de Arte de São Paulo”, 1987, Museu de Arte Moderna de São Paulo, São Paulo