After the 1974 Revolution, Batarda created several works that comment on the national political scene, as he had done before in the context of the Estado Novo dictatorship. In this work from the "hot summer" of 1975, several broken, fragmented and overlapping spaces weave the palimpsest of the image, in a movement that seems to mimic contemporary political turmoil.

At the top of the work we read: “Novas Aventuras do Polvo Unido. Cap. 4: raptado pelos trots.” [New Adventures of the United Octopus. Chap. 4: kidnapped by the trots.]. Making a pun between the "povo" (people) and the "polvo" (octopus), Batarda suggests here, with his characteristic disruptive anarchy, various situations of that period. First, it seems to refer to the attraction by the Left in the 1960s and 1970s for the Trotskyist alternative. The "polvo" (which can be understood both as the people and as an allusion to the tentacular extension of power) is thus kidnapped by the Trotskyists. In addition to the large octopus at the centre of the composition, small octopuses punctuate the work, namely in the amusing rectangular vignette in the bottom right-hand corner, where three octopuses with interlaced tentacles play with the motto "The united people will never be defeated".

The movement of the abduction is graphically suggested by the diagonal that guides the composition: the movement of the two figures running in the foreground, the octopus between them in the background and the oblique verticals oriented in the same direction.

Among the various shattered planes, Batarda distributes various elements: the iconic red star, the soldier, the naked "Pepita", the man suspiciously peeking out from behind the painting or window, the suitcase (an allusion to the decolonisation? ), sections of cork near which one reads "This cork is no longer good for anything" (possible comment on the Agrarian Reform), scraps of deformed and frayed country maps recalling the outline of Portugal and Angola (perhaps an allusion to the famous "Portugal is not a small country" map of the propaganda of the Estado Novo). Although Batarda alludes to the turmoil of 1975, sarcastically criticising it, he does not subscribe to any alternative. In the detachment of his corrosive humour, he maintains his position.