Coincidence is a demonstrative part of Picasso's reality and artistic sense. In his works principles of combination of real subject matter arise together with incidental contrivances of style. Tangible objects perceived as bicycle handlebar and seat are given a new interpretation as their accepted formal aesthetic values are creatively combined to form a new symbol. It is this process of visual interpretation of form, reinterpretation and merging which forms the basis of the formative conditions of the work which fundamentally characterizes two principles of creation. One being coincidence the other being combination. The handlebar and seat are discovered by chance whereas the emergent artwork is a conscious combination. Consequently in the incidental nature of the elements inherent properties and propensity for creation are integrated and interpreted. Through the use of these objects a symbolic state is conveyed, which is beyond the meaning of their utility value. The striking impact of < Bull's head> is certainly owing to its simplicity, which is able to make us forget the process mentioned above. Due to the frontal view of the visage the silhouette of a homed head takes immediate form in the viewer's consciousness. This optical illusion is rooted in a schematic or formal naming capacity, which makes possible the recognition of a homed figure. Namely when one combines the vertical middle-positioned 'seat-head' with the linear figure of the 'handlebar-horns' there arises as a whole an extremely reduced visual cipher of a head with homs. The iconic quality of artistic imagination opens up every possible form from those possible in Nature. Much like an actual life experience by which precisely that which is unexpected and unrelated can bring about liberating effects. Fantasy is closely tied to perception. It is fostered by surprising experiences. It becomes inductive and engenders experimentation. The reinterpretation of the elements as shown in may be viewed as a joke objectified. The joke is sparked by the unexpected coupling of objects, of which we have entrenched preconceptions, to form a new symbol. In the reinterpretation of these everyday objects to symbols of form is accomplished, while the original state of the elements is not lost. It should, in a non-pretending act of seeing the objective world, no longer be identified in conceptual and material terms of function but rather as a visual form or rather a value of form. For the artist, coincidence functions together with the experience of observation as an un-predetermined act of perception. In the reception of the observer it appears as a surprise to changes in what was thought of as concrete reality. With Picasso coincidence becomes a matter of an actualized or achieved form. In an act of perception which frees the value of the form and the conceptual substance as well as the function of the object for a time or also completely suspended. Then the unrelated objects may become a latent image and reformed to carry meaning. The combination of everyday objects stand ready to serve creative ideas. The objects may then be interpreted in art as 'plastic metaphors.' Consequently the realistic norm, which requires similarity with models outside of artistry, and concrete experiences of recognition constitute the techniques of assemblage used by Picasso.