WILLEM de Kooning was probably the painter who gave us the female portraits most open to the imagination (behind the limited colors he used in every such female-inhabited canvas). In 1989, de Veyra thought he might draw studies placing the de Kooning sort of figure in a place setting as confused and marketplace-esque as the Manila International Airport (now the Ninoy Aquino International Airport) under a narrative time just as confused (the pre-People Power Revolution era). In one such study above, which he titled De Kooning Woman Composes Herself at the Manila International Airport Under Martial Law, the artist used simply black and silver graphite and military-olive green oil spots.