Lucy McKenzie’s Untitled reduces the 1980 Moscow Olympic poster design to an abstract motif, a requiem to the power of painting. Bright bands of colour frame a central form of a broken octagram: a damaged symbol of completeness and regeneration. Reminiscent of supremacist painting, Untitled sentimentalises a failed Utopian vision. Whitewashing over her canvas, McKenzie sanitises an awkward history, and references the paintings of Kasimir Malevich, an art at odds with Stalinist policy.

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