This edition was published on the occasion of the eponymous exhibition organized by the Cultural Foundation of the National Bank at the exhibition space of the Eynerd Palace (December 18, 2015, to February 13, 2016). The works presented cover the artist's journey in painting from 1972 to 2012. They include the sections Eastern Aegean, Metallic Still Lifes, Aegean, Landscapes of Rust, Thessalian Land, Watercolors, Scrap, and Sample of Writing.

In a critical note published in 1986, Dora Iliopoulou-Rogan wrote among other things: "The painterly compositions of Michailidis appear as microcosms of a kind of cosmogony that seems to unfold before us – each time. It seems to unfold with a momentum and concurrently an instinctive rhythm: traits that ensure the artist's works a rare breath in our days." She also observed that the creator's writing is "a writing on the threshold between representationality and abstraction, on the two-dimensional surface and its extension into space, the visible and the imaginary, the organically experienced and that which is deciphered exclusively in our psyche".

Nikos Houliaras noted in 1991 that Michailidis’ painting "is a painting of substance: true, deep, and contemporary; solitary, poetic, and beautiful." Referring to Michailidis' watercolors, Elizavet Plessa wrote in 2008: "A world of water runs through Michailidis’ painting, perhaps best known for his obsessions with the nature of materials, his love for paper, and his endless interventions on a pictorial surface that initially started representationally, almost geometrically, to find its identity in an expressionist script of primordial representations stemming from the very behavior of the materials. Yet throughout this journey, water continuously intervenes, both as a conceptual theme and as a visual depiction of experiences and memories of the islander Michailidis to become his own painted images.”

Katerina Koskina noted in 2002: "What initially impresses in the works of Yiannis Michailidis, both in his earlier representational paintings and in the more recent ones, is the restraint with which he approaches the descriptive elements and the simplicity of his colors. While the use of colors is limited, their tonalities have always been rich in contrast. The second thing that impresses is that not only when it comes to representational painting, but perhaps even more so in his abstract compositions, an impression of landscapes is created. This may be due to the fact that the artist projects his own internal painted landscapes. It may also be due to the relationship he maintains with nature and his need to mimic it, intervening in his works with greater speed than it does, but in the same way that it would alter them over a longer period of time.

Thus, the painting process in the work of Yiannis Michailidis is intertwined with the quirks of nature and weather, with drying in the sun, with the tearing of the air, with the humidity of rain, with the oxidations created by the salt of the sea. Even in monochrome works where the landscape does not dominate, but evidently the materials of the painter do, one recognizes elements of places. This is consistent with Yiannis Michailidis' view of painting, which he himself 'inhabits', as a place.