In The Attack, a sharply angled black geometric form intrudes upon the photographic image of an open hand, suggesting a confrontation between the organic and the mechanical. The composition recalls the radical abstractions of Kazimir Malevich (1879-1935) and Suprematism, an association Siukonen himself recognized during the work’s development. Yet the title introduces a more unsettling dimension, transforming an apparently formal intervention into a gesture that might be read as threatening or defensive. Siukonen’s characteristic wit emerges through this ambiguity, allowing a simple arrangement of image and material to evoke both the playfulness of abstraction and the unease of an impending encounter.