Untitled (from Leonardo) came about under rather distinctive and insightful circumstances. While collaborating with Basquiat, I spent substantial time in the artist's studio, often observing him paint through the night. During this period, I discovered Basquiat's fascination with the works of Leonardo da Vinci. As a recent Ph.D. graduate in Art History, I knew Jean-Michel would appreciate perusing some of my collected books on Leonardo. After placing a few of these books in his studio, Basquiat expressed his interest in creating a print inspired by Leonardo's work. After discussing this idea, we agreed he would sketch on clear acetates, transferring these images to silkscreen via photography and printing on his choice of paper. Subsequently, I provided several acetate sheets to the artist.

Around a week later, I noticed the acetates scattered across the studio floor, integrated with drawing sheets, photocopies, paints, oilsticks, and assorted studio paraphernalia. I offered to reposition the acetates back onto the wall upon seeing their state, but Basquiat insisted they remain as they were. While I found it curious, recognizing Basquiat’s strong sense of direction, I trusted he had a well-conceived plan in mind. Another week passed, and Basquiat announced the acetates, once again tacked onto the wall, were ready for printing. He had not only drawn on the acetates but also incorporated their experiences on the studio floor into the completed images. Basquiat's selection of a beautiful Japanese rice paper to present his imagery was influenced by his desire to further contextualize them with the Italian master’s drawings. Unexpectedly, the accidental marks from the studio floor not only complemented Basquiat’s drawings but also imparted an aged 'patina' to the works—seemingly as old as the sources they referenced."