Wordplay was a central focus of Koller’s work, in particular the acronym U.F.O., which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U.F.O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle. Friedrich Nietzsche argued that to realize a fundamental critique of ‘bad faith’ means to move beyond cynicism and embrace a radical optimism that exceeds the petty dialectics of expectation and disappointment. In his approach to life and art as the U.F.O.–naut, Koller embodied precisely this: he actualized the potential of his imagination as a form of existential agency. As we get entangled in the strange possibilities of art and ideas, we all become U.F.O.–nauts and are deeply indebted to Koller, our patron saint of U.F.O.–nauts.