In the late ’60s and early ’70s, a group of young figurative painters living in Madrid— Guillermo Pérez Villalta, Manolo Quejido, Carlos Alcolea, and Rafael Pérez Mínguez, among others—emerged as a generation of artists who freely mixed intellectual gamesmanship and art-historical references with veiled autobiographical allusions and an often strong psychoanalytic component. Although they enjoyed much critical support, they are, thirty years later, something of a “lost generation.” Perhaps because their work was so conceptual and laden with personal references, it had little influence on the