The ritual, the sacrifice, the blood draw the perimeter of the work of Nitsch, one of the most controversial and influential artists of contemporary art. After completing his studies at the Experimental Graphic Institute in Vienna, in the early sixties Nitsch alternates exhibitions of painting with theatrical actions which, by triggering particular emotional discharges, want to lead both the spectators and the performers themselves to overcome inhibitions and interdictions of moral and sexual order. Together with Brus, Mühl and Schwarzkogler he later became one of the protagonists of the Wiener Aktionismus; to approach the work of the artists is the intention to abandon the canvas to make the body and the space that surrounds it the place where their creative gesture is produced. The pigment was soon flanked by body fluids and, in Nitsch's case, the blood and entrails of dead animals. His cultic operations, which hide a reflection on the deeper meaning of the artistic act, have their roots in archaic rituals but also in the Christian liturgy: through them the artist evokes, with often shocking results for the spectators-witnesses, the process of death and regeneration of the body and spirit. With his Orgien Mysterien Theater, Nitsch will remain from the seventies onwards the only one among the shareholders to explore both the themes and the expressive modalities attributable to the current, continuing to use photography and painting as tools to witness the events he orchestrated . The imposing Untitled presented here bears imprinted, in its tripartite structure and in the iconographic analogies suggested by the blood and color thrown on the canvas, the memories of great Western religious painting.