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“A schizophrenic out for a walk is a better model than a neurotic lying on the analyst’s couch,”[1] write Deleuze and Guattari in the opening pages of Anti-Oedipus before bringing in an example from a novella, Lenz. The figures of Ali Nassir’s paintings seem to take up the advice and follow this “better model.” In the purely subjective world of these paintings—which would pass for abstract painting were it not for the obscure presence of certain camouflaged figures—the figures resist psychoanalytical analysis.