Deux mille huit cent quatre-vingt-onze (Two thousand eight hundred ninety-one)

Against a pale ground, curving bands overlap across the canvas, each filled with rows of Latin numerals and broken by occasional crosses. The work draws on Iranian talismanic charts and on the Saqqā-khāneh movement, of which Zenderoudi was a pioneer, loosening the chart’s ordered grid into flowing bands in which numbers become rhythm rather than meaning. The use of Latin rather than Arabic numerals reflects his encounter with Lettrism after he moved from Iran to Paris in 1961.