Emerging within a generation of conceptual artists in Argentina in the 1960s, Osvaldo Romberg was known for his inventive, pseudoscientific analyses of celebrated artworks. Here, he investigates Caravaggio’s The Calling of St. Matthew of 1599–1600.

Through graphs, diagrams, and complex color-stroke charts, Romberg ironically comments on the artistic process by breaking down and evaluating the painting’s composition—its color, line, and form. Through these devices, he questions long-held romantic notions about the artist and the status of a masterpiece in the history of art.