IN 1990 de Veyra went back to his attempt in Muro-Ami the previous year (see our notes on that piece above), re-studying semi-abstract composition (or abstraction that leaves a tinge of visual realism). Such studies, like Pilate’s Trip, would seem  now to have been a result of a desire to please both those looking mainly for the decorative in the abstract and those expecting immediate visual signifiers within the decorative.