May's witty caricature depicts three respectable men, including a rabbi in a biretta-style hat, a typical component of a British rabbi's attire, discussing a fourth man standing to their right, who has irreversibly changed after a visit to an exhibition of modern art and sculpture at a local art gallery. Although the 'poor chap's' outfit is identical to the one worn by his two secular acquaintances, his facial features have disappeared and his body parts have taken on a much more simplified, blurry, rounded shape, bordering on the abstract. His arm, with its distinct circular negative space, is reminiscent of Henry Moore's sculptures, which, following the sculptor's move to increasingly abstract art during the late 1920s-early 1930s, received mixed reviews, including one conservative critic from The Morning Post referring to them in 1931 as the 'cult of ugliness triumphant'.