Back in the late 1960s, Canogar had already represented groups of figures whose contours were outlined with thick paint marks or partially cut out against the support. However, he would not return to these faceless figures until the 1980s, even though in this case limited to just a sketchy depiction of a head.
Starting out with a representation of a highly schematic solitary head, from 1987 onwards he multiplied its presence in the composition, with a number of profiles, usually between three and five, making up what he called urban scenes. In them, the entire focus is on the brushstrokes against a coloured background, a formula recurrent in Canogar’s art until 1992.
Julio González’s masks resonate in these heads by Canogar, who, rather than copying them reinterprets them, using them as a stepping stone towards a new iconography. The primitivism of the masks provided him with a vehicle to recover the figurative image through the reflection of an already transformed reality.