When Roberto Matta travelled to New York in 1939, he brought with him a repertoire of fantastical, Surrealist imagery, including an assortment of anthropomorphic creatures only found in his Parisian drawings. His large canvases of the mid-1940s, inspired in terms of size by those of the early Abstract Expressionists, feature numerous imaginary anthropoid figures. In Matta’s works from the mid-1940s to the mid-1950s, created in his personal cybernetic style, these organisms often cluster around transparent rectangular planes and appear to be engaged in futuristic games or operating the control panels of arcane machines. This canvas reinterprets a subject that emerged in at least two works from 1952, titled The Un-Nominator (I and II). In The Un-Nominator Renominated, the salmon-colored figure holds his arms out towards his monolithic companion, whose own arms are resting on the right-hand border of a table. The game played by these creatures is of secondary importance to their implied relationship—the table is just a means of uniting what is disjointed.