This article reexamines the 1960s work of Iranian painter and stage director Bahman Mohassess (1931–2010) through the lens of parody, highlighting his nuanced critique of both Western cultural dominance and Iranian political realities. A close analysis of Mohassess’ 1965 Untitled painting, against the backdrop of his 1967 Tehran staging of Luigi Pirandello’s Henry IV, reveals his subversive appropriation of the equestrian motif—a loaded symbol in post-1953 coup Iran, where Reza Shah...
