Set against a ground reminiscent of Gerhard Richter, Albert Oehlen's tree motif has the presence of a barbaric logo. Neither representational nor abstract, Untitled uses the utilitarianism of design to express form as concept.

Making reference to the politically loaded undertones of modernism and the frivolity of pop, Albert Oehlen's painting exploits the bankruptcy of both. Instead he presents a ‘landscape' as a paroxysmal sentiment, a symptom of the inadequacy of the sublime, and a simultaneous breakdown of image and spirituality.