In 2013, a group of restorers relocated the work to a heritage center.
Picking up one vase, Miró started to paint it directly on its surface, while Artigas produces a series of special glazes for him to use.
One such painting, , showed a transition to a more individual style of painting and certain nationalistic qualities.
In 1926, while collaborating with Max Ernst on designs for a ballet they pioneered the technique of grattage, in which pigment is troweled onto the canvas and in 1928 Miró began executing his first papiers collés and collages.
In Harlequin's Carnival 1924—25 , there is a clear continuation of the line begun with The Tilled Field.
During this period, he was also prone to experimenting with many other art forms and mediums of expression.