Do you remember the Bauhaus? Yes, that very one with its archetypal geometries and perfect pictograms, the fetish with which all graphic designers fill their wet dreams. BauAhhh! is its degenerate mutation: an overdose of dopamine, chromatic contrasts and a serpentine chaos that creeps through rigid geometries. As with the Bauhaus of Schmidt and Moholy-Nagy’s era, the abstraction of the observed world generates a graphic lexicon that alludes, suggests, recombines and engages in dialogue, but this time does so with the unbound, iconoclastic and ‘irresponsible’ attitude of digital art, soaking up contemporary symbols and indulging in irreverent semantic digressions, yet always within the rational graphic grid that governs and commands everything: a forced coexistence between the need to order, define and synthesise, and maximalism seen as the sole expedient to ensure that information does not succumb to the visual overstimulation that digital culture has now imposed.