1991 was the last year AlYousif worked with his sight intact, and the acrylic studies he made outdoors that year carry an unrepeatable urgency in hindsight, though nothing in the work itself is elegiac. Painted directly from the motif rather than composed from memory in the studio, they are looser and quicker than the etchings and oils that came before, built from observed light and colour rather than remembered narrative.

The subjects are modest: landscape, water, the everyday appearance of a place caught in the moment of looking at it. Set against the vast, deliberate bodies of work either side of it, this is a small and concentrated group, but it marks a genuine change of method, an artist working plein air for the first time in his maturity, and its closeness to direct sight gives it a particular, unintended poignancy within the wider chronology of his career.