Massimo de Carlo, Milan
Acquired by the present owner from the above

This work is in very good condition overall. There is evidence of light wear and handling to the sides and edges of the canvas. Abrasions to the painting's surface are inherent to the artist's working method. Under ultraviolet light inspection, there is no evidence of restoration. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“The way I feel now, art is the only thing that matters. Everything else is fake. I put all my energy into my work. Since my participation in the 2003 Venice Biennale, I have taken an entirely new approach to art. At the time I was purely a painter, working without regard for the prevailing social conditions. But society changes, and I have to change with it… My art now addresses society, economy, war. I’m a pessimist. Artists can’t ignore social realities. You can’t just paint in black and white, talk about space… you need content, real content. It’s not playing with crayons.” Yan Pei-Ming, 2007