This work consists of two joined sheets of tinted, superimposed photographs, with a third painted strip attached to the bottom of the drawing. A photograph of the Chinese Communist leader Mao Zedong standing on a tall podium, his right arm raised, has been superimposed on another photograph, of a curved wall, so that the bricks of the wall appear throughout Mao's body and also seem to form the material of the podium on which Mao stands. Beginning just below Mao's hand, a scattering of flowers painted in gouache drifts toward the third painted sheet along the bottom, dense with pink-orange flowers. The inscription refers to the Hundred Flowers movement initiated in 1956–57 by Mao to encourage pluralism in Chinese society. Within months, the Communist Party came to believe that society was becoming too outspoken, and it then began to persecute and purge liberal groups. This irony appealed to Kiefer.

Mao's pose with outstretched arm echoes Kiefer's portraits of himself from 1969 and 1970, which mock Adolf Hitler's Sieg Heil posture. This drawing joins fifty-five Kiefer works on paper in the Museum's collection, including several Sieg Heil self-portraits, as well as a painting in which pink-orange flowers also abound.