As such, the theories of the pioneering Hans Prinzhorn, which for the first time associated art with schizophrenia, or alternatively the analytic methods of early-nineteenth-century doctors such as Philippe Pinel or Samuel Tuke, who opposed the arbitrary, and yet hegemonic association of madness with evil, are now the points of departure for the artistic exploration of Zipp. Psychophysics, as a branch of psychology studying the relationship between physical stimuli and the intensity with which they are perceived by the spectator, made great scientific and political advances in the USSR during the Cold War. It is back to those theories and the methods developed in that period, which consisted in the numerical application of certain psychological parameters, and which would supposedly allow for the control of the masses and the production of a controlled and alienated population, that we may trace the surrealist universe of this new exhibition. That which was so radically opposed by Pinel and Tuke, and which solely through the rigorous mechanisms of determinism exerted a certain control over the insane, was recovered by the political theories of the USSR who put into practice those stimulating effects of alienating psychiatry. In this way, the landscapes, the geometric patterns or the lines of Zipp’s paintings, as well as his series of portraits in which the faces fade into the alienation of stereotype, constitute a dual reading, a dual position: on the one hand the literary and scientific one, in which medical texts address those psycho-physical hypotheses, converted into poetry; and on the other hand a pictorial reading in which the images occupy a place beyond that of the text. Through strategies such as the abolition of the adjective (the futurist method), faceless figures, visionary landscapes, the black colour and all the elements which form part of the installation (the swing with the amplifier hanging from it, the work clothes, boots and masks) a tragic disappearance of identity is depicted; one that is now diluted between the background noise that reverberates in mind and body, and which acts here as if it were an electric shock, generating an artistic manifestation — and we could also speak in terms of a manifesto (and the recovery of all those theses which have been fruit of that concept) — which arrives like the fulfilment of the total artwork.