The decorative squares of Balla's late futurism were created by him with surprising ease. These simple, essential and clean lines and colors derive from Balla's infinite and multiple, profound studies on movement, lights, colors, prism, flowers, birds, water, etc ... They are the precious synthesis of a long experience that led him , in the completed experience, to create a new style; Balla's futurist style is so current today and that nobody understood at the time, writes Elica Balla in the introduction to the Padua exhibition in 1983.
In June 1929, the Balla family, together with their elderly grandmother Lucia, moved to the house in via Oslavia 39 b, a public housing that was assigned to them thanks to the interest of their friend - journalist Michele Biancale.
"This apartment was sold to us by the Institute of public housing with a future redemption price. The house was furnished in the best possible way, the studio mainly housed Futurist paintings", wrote Elica Balla in 1986 (pp. 325,336).
Immediately after this moment, Balla elaborates a series of 22 canvases, in a 77x77cm square format, to close the space created in the upper part of the corridor wall where the water pipes pass. In reality, as Fagiolo clearly wrote, a new opportunity arises for Balla aimed at revoking his entire futurist story.
The work was already exhibited in Balla's first major anthological exhibition in Turin in 1963 curated by Enrico Crispolti.