Two comic-like figures are shown against a blue background, which in no way opens up the pictorial space, overlaying it instead with a gloomy, leaden undertone. The hooded figures in the car are reminiscent of members of the Ku Klux Klan. The racist secret society brutally persecuted people in California too, where Guston lived with his Russian Jewish family from 1919 on. This double portrait of two Ku Klux Klan figures actually shows the artist and his wife and is thus both the embodiment of everyday evil and a part of his own past. The smoking cigar in the hobgoblin-like fingers turns the image into a sarcastic memento mori - an allusion to the transient nature of life. The figures are a sign of Guston's search for a place and meaning in our world and testify to his own artistic origins: the serially arranged cotton-wool clouds reference the sequences in Minimal art, while the gestural background points to his own early works during the 1950s.