ARTIST ROOMS: Robert Rauschenberg

Tate Modern

21 September 2026 to December 2027

 

Robert Rauschenberg is organised in collaboration with the Robert Rauschenberg Foundation. It is curated by Gregor Muir, Director of Collection, Tate; Andrew de Brún, Assistant Curator, International Art, Tate Modern; and Julia Blaut, Senior Curator, Robert Rauschenberg Foundation.

 

Robert Rauschenberg, Rasputin's Revenge Early Winter Glut 1987. © Robert Rauschenberg Foundation. Photo: Ron Amstutz

ARTIST ROOMS: Robert Rauschenberg, a large-scale free display in the ARTIST ROOMS gallery at Tate Modern, opens on 21 September. It brings together over 20 works by Rauschenberg (1925-2008) spanning three decades, including paintings, prints, and his unique kinetic and light works. At the heart of the presentation are a selection of the artist’s renowned Glut sculptures, including three newly gifted by the Robert Rauschenberg Foundation to mark 100 years since the artist’s birth. These have been donated to Tate Americas Foundation for the ARTIST ROOMS collection, which is jointly shared by Tate and the National Galleries of Scotland. The display at Tate Modern foregrounds how these works relate to the artist’s engagement with dance and performance.

One of the most influential American artists of the 20th century, Rauschenberg’s practice moved freely between painting, collage, sculpture, performance and photography. In his early practice in the 1950s, he challenged the dominance of Abstract Expressionism in the US, making work that blurred the distinction between art and everyday life. In Almanac 1962, one of his first silkscreen works, he printed imagery taken from books, magazines and his own photographs onto canvas. Integrating found objects such as Coca-Cola signs, ironing boards and newspapers into his work, he developed a series combining aspects of painting and sculpture called ‘Combines’. In works like Dylaby 1962, he gives new purpose to these overlooked materials, questioning how we assign meaning to the objects around us.

Fuelled by a curiosity about how he could work with the materials around him, Rauschenberg invented new methods of art making. Taking their inspiration from the abandoned petrol stations, cars and machinery that dotted the Texan landscape in the wake of the 1980s oil surplus, his Gluts series from 1986-94 are made from scrap metal scavenged from junkyards. He saw these works as a stark warning about the consequences of the ‘throwaway culture’ of capitalist society. Three Gluts gifted by the Robert Rauschenberg Foundation are central to the display at Tate Modern. Combining layers of crumpled metal, G-I Glut 1986 is one of a group made using petrol station signage which together reveal the phrase ‘$AVING$, while Rasputin's Revenge Early Winter Glut 1987 embraces the readymade colours and dents of the salvaged materials.

Rauschenberg was attracted to the sense of 'liveness' he could achieve when he activated his work with performance and movement, and frequently made costumes, sets and props throughout his career. Made from scrap metal, Mobile Cluster Glut (Neapolitan) 1987 is adapted from a set he made for a performance of Trisha Brown Dance Company’s Lateral Pass 1985, one of the most important works in postmodern dance. Film documentation of the performance, which took place in Naples, Italy, shows the pieces suspended above the stage. Also on display are examples of the costumes he designed for the dancers in Trisha Brown’s Set and Reset 1983, for which he screen-printed his own photographs of urban and industrial scenes onto transparent fabric.

Rauschenberg was interested in technology’s potential for artmaking. The display features an example from his Carnal Clocks series 1969, kinetic artworks that keep time, containing a mechanism that switches electrical lights on and off at regular intervals. He also experimented with new printing techniques in works such as

Tides, Drifts and Gulf from 1969, creating overlapping images to evoke reflections on the surface of water. Inspired by the colour and texture of silk he saw in Ahmedabad, India, he made a series of works titled the Jammers 1975-6, made predominantly from sewn fabric with rattan poles. In another textile-based series the Hoarfrosts 1974-6, transferred imagery is obscured by multiple layers of fabric.

Mobile Cluster Glut (Neapolitan)1987 Assembled metal with plastic hose104.8 x 240 x 47 cmRobert Rauschenberg Foundation© Robert Rauschenberg FoundationPhoto: Ron Amstutz

G-I Glut 1986 Assembled metal264.2 x 142.2 x 61 cmRobert Rauschenberg Foundation© Robert Rauschenberg FoundationPhoto: Ron Amstutz

Almanac 1962 Oil and silkscreen ink on canvas243.8 x 152.4 cmTate. Presented by the Friends of the TateGallery 1969© Robert Rauschenberg Foundation

Dylaby 1962 Combine: oil, metal objects, metal spring, metalCoca-Cola sign, ironing board, and twine onunstretched canvas tarp on wood support224 x 182 x 48.5 cm variableRobert Rauschenberg Foundation©Robert Rauschenberg FoundationPhoto: Ron Amstutz

Norman Lewis: Jumping Jive,

 Painting, like music, had something inherent in itself which I had to discover and which has nothing to do with what exists, it has another kind of reality.— Norman Lewis [1]

Michael Rosenfeld Gallery is pleased to present Norman Lewis: Jumping Jive, the gallery’s seventh solo exhibition dedicated to the work of Norman Lewis (1909–1979). Featuring paintings and drawings representative of Lewis’ over four-decade career, the exhibition highlights the vital role music—from jazz and blues to classical, pop, and reggae—played in the artist’s life and practice. An important thematic and conceptual throughline in Lewis’ oeuvre, music appears in early figurative depictions of bands and jazz clubs, in later abstract compositions that variously recall music notes or pulsing soundwaves, and in titular references to songs, lyrics, or musical icons. As Lewis increasingly embraced abstraction in the mid-1940s, the intuitive, riff-based method of jazz composition guided his approach to painting. This focused survey of Lewis’ diverse body of work not only evidences the inspiration the artist gleaned from music but also reveals how his understanding of its power as a universal language enriched and sustained his relentless pursuit of artistic expression.

The exhibition takes its title from the earliest work on view, Jumping Jive (1942). Featuring five musicians framed by brushstrokes that seemingly reverberate off the players and their instruments, the painting is exemplary of Lewis’ early representational style and is a reference to the 1939 hit by Cab Calloway, Frank Froeba, and Jack Palmer titled Jumpin' Jive. As Lewis moved from social realism towards abstraction, the figures that once populated canvases such as Musicians (1943) dissolved into the dynamic linework seen in works such as Street Musicians (1948). Painted in 1966, Untitled (Players Four) is a later variation on this familiar theme in which bold swaths of color serve to loosely and lyrically define the bodies of four musicians. Working in a non-representational style for most of his career, Lewis created a robust oeuvre that consistently reflected the sights and sounds that defined his life, including the music he listened to, his natural and urban environs, and the American Civil Rights Movement.

Music is also key to understanding Lewis’ approach to abstraction, as he was greatly influenced by the improvisational nature of jazz. In works on paper from the 1950s, stylized, calligraphic lines suggest the spirited syncopations of up-tempo music or the rhythmic beating of bird wings. Paintings from this era feature staccato brushstrokes and pulsing, atmospheric compositions. Reflecting on the dynamic quality of Lewis’ work, critic Henry McBride wrote: "There is a temptation to think the artist a musician as well as a painter for he starts in softly on the blank page like a musician improvising and as he sees a suitable motif taking shape, swings into it with confidence, plays it up for what it is worth and then, satisfied he has gone the whole way with it, permits it to fade softly out."[2]

Lewis often directly acknowledged his indebtedness to specific songs or albums in his titles. As is the case with many of Lewis’ titles, Double Cross (1971), a painting that shares its name with a 1968 album by jazz saxophonist Hank Crawford, encompasses multiple, evocative meanings. The title is both literal and symbolic, describing the two central crosses embedded in a fiery ground that recall the burnings carried out by the Ku Klux Klan while simultaneously speaking to the sense of betrayal felt by Black Americans as the momentum of the Civil Rights Movement waned. In Lewis’ 1970s Seachange paintings and works on paper—a series whose title is derived from a phrase first sung by Ariel in William Shakespeare’s The Tempest (1610–11)—several dominant threads from the artist’s career converge: his synesthetic tendencies, his reverence for nature, and his commitment to fighting for civil rights. Featuring an echoing, ovoid motif inspired by Lewis’ 1973 trip to Greece to visit Jack Whitten on the island of Crete, the Seachange series evokes the movement and sound of crashing waves and serves as a metaphor for the artist’s hope for societal change in the wake of the Civil Rights Movement.

One of the latest works on view, Ode to Duke (1977), is a resounding tribute to the spirit of music legend Duke Ellington and a reflection of Lewis’ ability to emulate the expressive power of music. Rendered in deep blue and inky black, the work echoes the emotions of one of Ellington’s biggest hits, “Mood Indigo” (1930), and belongs to Lewis’ 1970s body of blue and black paintings and works on paper. On this important series, curator Ruth Fine noted:

[The blue and black works] introduce new ideas and forms while also pursuing the juxtaposition of opposites that characterized Lewis’s work throughout his life. Engaging the visible and imagined worlds, they conflate the richness of painterly means with the lyrical patterns of calligraphic markings, and explore the subtlest possibilities of color. Both canvases and works on paper encompass the range of universal emotions, responding to the charge of a humanist at work within the visual artists’ milieu.[3]

With gossamer lines that float like musical notations over a resonant field of sound, Ode to Duke embodies Lewis’ career-long pursuit to translate the universalism he felt in music into a visual form.

Accompanying the display of Lewis’ art are selections from the artist’s record collection of nearly 500 titles. Saved by his family and recently archived and cleaned for study and play, Lewis’ collection reveals the scope of his musical interests, which ranged from Johann Sebastian Bach to Duke Ellington, Aretha Franklin, Bob Marley, and Joni Mitchell. The artist’s collection is notable not only for its breadth—it encompasses bebop, blues, classical, disco, funk, reggae, and soul as well as poetry by T. S. Eliot, Australian sing-along “favourites,” and a 1967 spoken word recording by civil rights leader and Congressman Adam Clayton Powell Jr.—but also for its depth: the artist owned sixteen Duke Ellington records, the largest number by far of any artist within the collection, followed by eight records from the 1940s by vocal pop group The Ink Spots and seven by jazz musician Eddie Harris. The earliest record in the collection is a 1920 recording of “Whispering” and “The Japanese Sandman” by the American dance band Paul Whiteman and His Ambassador Orchestra, and the latest records were released in 1979, the year the artist died. Lewis’ record collection echoes his artistic trajectory, reflecting his interest in foundational classics, the seismic effect jazz had on both music and midcentury visual artists, and his embrace of the proliferating styles and genres that mirrored the way in which he constantly riffed and built on his earlier work.

1. [1]Norman Lewis, quoted in Archives of American Art Oral History Interview with Henri Ghent on July 14, 1968.
2. [2]Henry McBride, ARTnews (1951), quoted in Thomas Lawson, Norman Lewis: A Retrospective (The Graduate School and University Center of the City University of New York, 1976), n.p.
3. [3]Ruth Fine, ed., Procession: The Art of Norman Lewis (Pennsylvania Academy of the Fine Arts in association with University of California Press, 2015), 89.
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IMAGES

Sotheby's Reflections on Pop: Works from the Collection of Dorothy and Roy Lichtenstein October 7

This October, Sotheby’s will present an offering of works emerging from the personal collection of Dorothy and Roy Lichtenstein, showcasing five decades of artistic output from the Pop art icon. Bringing together paintings, drawings, collages, sculptures, ephemera, prints, and editions, the group offers a broad exploration of Lichtenstein’s practice. This particular selection gives an in-depth look into Lichtenstein’s process and the development of his ideas through various media, showcasing the full range of the artist’s creative process. Taken together, the works capture the retrospective spirit of the Collection and reflect both the range and consistency of Lichtenstein’s vision across multiple mediums and throughout his oeuvre. 

Titled Reflections on Pop: Works from the Collection of Dorothy and Roy Lichtenstein, the sale comes at a time when fans of Lichtenstein’s work look ahead to the Whitney Museum of American Art’s highly anticipated retrospective, Roy Lichtenstein: Like New, opening to the public just days following the auctions in October. 

With estimates ranging from just $500 up to $1.5 million, the sale offers an opportunity for both established and new collectors to explore and engage with the artist’s body of work and creative development. In a moment when Lichtenstein’s imagery is more in the public eye than ever, Sotheby’s sales give collectors a chance to participate in taking home a piece of his enduring legacy. Reflections on Pop follows Sotheby’s successful auctions of works from the Collection in 2024 and 2025, which were 99% sold. 

Works from the Collection will be offered in two dedicated sales: a 23-lot live auction on 7 October, and an online auction featuring more than 120 works open for bidding from 25 September - 9 October. 

 Collection Highlights 

Interior with Painting of Nude (Study) cut painted paper, cut printed paper, tape, marker, and graphite on paper Executed in 1997 Estimate $1-1.5 million 

& Interior with Painting of Nude (Study) colored pencil and graphite on paper Executed in 1997 Estimate $100,000-150,000 

Executed in 1997, Interior with Painting of Nude (Study) belongs to Roy Lichtenstein's celebrated late Nudes and Interiors series, one of the final and most sophisticated bodies of work created during the last decade of his career. The collage and a drawing of the same name, provide a rare window into the evolution of a composition across different media. Drawings were central to Lichtenstein's work and frequently served as the starting point for paintings, sculptures, and prints. The accompanying drawing captures the artist's formulation of the composition before he expanded it into the complex collage.  Later in his career, Lichtenstein expanded his color palette and removed the black outline which characterized many of his Pop works over the decades. This work showcases a new direction Lichtenstein investigated prior to his passing. The collage presents a tactile counterpoint to Lichtenstein’s signature hard-edge aesthetic, with hand-cut edges, graphite marks, seams, and layered textures that reveal the artist’s hand. Unlike the mechanical appearance of Lichtenstein's final works, the collage exposes the highly constructed nature of his imagery, allowing viewers to witness the artist actively building the composition element by element. The subject reflects the artist's ongoing exploration of the dialogue between interior space, art history, and the female figure - themes that occupied him throughout the 1990s and culminated in the acclaimed Nudes and Interiors series. 

Blue Nude (Study) colored pencil and graphite on Denril Executed in 1995 Estimate $300,000-400,000 

Created in 1995, Blue Nude (Study) directly relates to Blue Nude, one of the most celebrated works from Lichtenstein’s late Nudes series and formerly in the collection of designer Gianni Versace before it sold at Sotheby’s in May 2005. This study offers a rare glimpse into Lichtenstein’s creative process during the final years of his career. Far from simply serving as a preparatory exercise, the drawing allows viewers to trace the evolution and experimentation of the composition before its realization on canvas. Filled with expressive mark-making, the workhighlights the immediacy and intimacy of the artist’s hand in striking contrast to his polished, finished paintings. 

Reflections on “Nancy” (Study) colored pencil and graphite on paper Executed in 1989 Estimate $150,000-200,000 This drawing highlights Lichtenstein’s lifelong engagement with comics, as he revisits “Nancy”, one of the most iconic American comic-strip characters. As a study for his celebrated Reflections series, the work exemplifies Lichtenstein's enduring interest in collapsing traditional distinctions between mass media and high culture and revisiting his canon to find new ways of distilling his pop sensibility. 

Entablature acrylic, sand and graphite on canvas Executed in 1976 Estimate $700,000 - $1,000,000 

Executed between 1971 and 1976, Lichtenstein’s Entablatures series marked a dramatic shift in the artist’s work. 

Moving away from comic book panels and consumer advertising, he turned his attention to architecture - specifically motifs found on American neoclassical facades. Inspired by both Greek and Roman sources and the early 20th-century Beaux-Arts revival as seen in buildings throughout Manhattan, Lichtenstein photographed local architecture and translated its classical entablatures into bold, graphic abstractions. Polished and graphic yet austere and architectural, the work becomes a meditation on the relationship between history and modernity, ornament and structure, and the handmade and mechanically produced. One of just 30 works on canvas within this series, sand from the Southampton beaches near the artist’s Long Island studio reveals traces of the artist’s hand. Works from the Entablatures series reside in prominent museum collections such as The Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; The Broad, Los Angeles; and Moderna Museet, Stockholm.

 

Glass II (Prototype) painted wood Executed in 1976 Estimate $300,000-500,000 

Glass II (Prototype) represents a pivotal moment when Lichtenstein translated the visual language of Pop Art from two-dimensional images into three-dimensional form. As the prototype for the celebrated bronze sculpture Glass II, Glass II (Prototype) reveals how he developed and refined the formal strategies that would ultimately be realized in the finished sculptural edition. Rather than sculpting a realistic glass, Lichtenstein reconstructs the graphic devices used to depict one, including contour lines, reflections, shadows, and stripes to create a drawing in space.

More Images

Composition III

Brushstroke

Roy Lichtenstein, Water Lilies - Blue Lily Pads (Study)

Modern Painting with Fishes (study)

Next Wave Festival Poster (study)

Wall explosion III  (study)

Landscape Mobile  (study)

Red Lamp

Reflections on Minerva



Blue Floor  (study)

Sandwich and soda

Ceramic sculpure

Ceramic Plate

:

Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation

Mint Museum

Through October 25, 2026

Caravaggio’s Boy Bitten by a Lizard is a rare treasure as fewer than 60 works in total are attributed to Caravaggio who died at the young age of 38. Surrounding Boy Bitten by a Lizard are paintings created by other leading Baroque masters who painted in the style of Caravaggio, including Matthias Stomer, Valentin d Boulogne, and Jusepe de Ribera.

Featuring one original masterpiece by Caravaggio and more than 40 works by Baroque masters, the exhibition shines a light on how Caravaggio's radical realism transformed not only painting, but the very language of modern film, photography, and popular culture.

All paintings on view are on loan from the Roberto Longhi Foundation located in Florence, Italy. Together, these works illuminate the extraordinary impact of Caravaggio’s use of shadow and light, realism, and dramatic intensity on an entire generation painters.

Caravaggio’s revolutionary use of light and shadow, known as “chiaroscuro,” paired with his unflinching depiction of the non-idealized masses shattered the polished conventions of 17th-century art. His emotionally charged realism shocked his contemporaries and ignited a movement that swept across Europe.

 Michelangelo Merisi, known as Caravaggio (Italian, 1571–1610). Boy bitten by a lizard, circa 1597, oil on canvas. Florence, Fondazione di Studi di Storia dell’Arte Roberto Longhi.

Matthias Stom or Stomer (Dutch, possibly Flemish, 1600–50). Annunciation of Samson’s birth, circa 1630–32, oil on canvas. Florence, Fondazione di Studi di Storia dell’Arte Roberto Longhi.

Jusepe de Ribera (Spanish, 1591–1652). St. Thomas, circa 1612, oil on canvas. Florence, Fondazione di Studi di Storia dell’Arte Roberto Longhi.

Valentin de Boulogne, known as Le Valentin (French, 1591–1632). Denial of St. Peter, 1615–17, oil on canvas. Florence, Fondazione di Studi di Storia dell’Arte Roberto Longhi.

Roy Lichtenstein: Like New

Whitney Museum of American Art

Opening October 11, 2026

The Whitney Museum of American Art presents Roy Lichtenstein: Like New, opening October 11, 2026. This exhibition brings together over 130 works made from the early 1940s through the 1990s and offers a bold reconsideration of one of the defining artists of the Pop art movement and the twentieth century. Tracing Lichtenstein’s career-long investigation into duplication, perception, simulation, authorship, and image culture, Like New reveals an artist who understood that images are never fixed but instead continually copied, enlarged, circulated, and made new. 

Roy Lichtenstein changed the way we see images. Turning the visual language of mass-culture comics, advertising, consumer goods, and commercial printing into fine art, Lichtenstein produced works that looked cool, crisp, and machine-made but were meticulously handmade. 

Roy Lichtenstein: Like New looks beyond the artist’s iconic surfaces to trace how his early interest in perception and visual recognition shaped a career-long inquiry into the power and stability of images. Across painting, drawing, collage, prints, sculpture, and film, the exhibition presents Lichtenstein’s images as unstable forms that could be borrowed, translated, reframed, and transformed. 

The exhibition features many of Lichtenstein’s most celebrated works, including Look Mickey (1961), Girl with Ball (1961), Masterpiece (1962), Drowning Girl (1963), Happy Tears (1964), Little Big Painting (1965), Rouen Cathedral, Set III (1968–69), and Artist’s Studio “The Dance” (1974). 

Among its highlights, Like New reunites for the first time all eight works from Lichtenstein’s landmark 1962 Pop debut at Leo Castelli Gallery. The exhibition reconstructs the intimate gallery setting, allowing visitors to experience the works together as audiences did at a pivotal moment in American art history. 

The exhibition also includes the recreation of three murals, including a nearly 96-foot-long iteration of Greene Street Mural (1983) and an outdoor presentation of Girl in Window (1964) realized by artist and co-curator Alex Da Corte. 

The impact of Lichtenstein’s work extended far beyond Pop, shaping generations of artists, including Louise Lawler, Richard Pettibone, and Sturtevant, whose work will also be on view to further illustrate Lichtenstein’s relationship to copying, influence, appropriation, and the afterlife of images. 

In an era when pictures are endlessly cropped, filtered, reposted, and recirculated, Lichtenstein’s work feels newly urgent. Like New looks beyond the artist’s iconic surfaces to reveal the power and instability of images and celebrate an artist who understood, long before the digital age, that images change as they move through the world. 

Roy Lichtenstein: Like New is organized by Meg Onli, Nancy and Fred Poses Curator, and Alex Da Corte, Guest Curator, with Nakai Falcón, Curatorial Assistant, and David Crane, Curatorial Research Associate

 IMAGES

Roy Lichtenstein, Still Life with Crystal Bowl, 1972. Oil and acrylic on canvas, 52 × 42 in. (132.1 × 106.7 cm). Whitney Museum of American Art, New York; purchase with funds from Frances and Sydney Lewis 77.64. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Girl in Window (Study for World's Fair Mural), 1963. Oil and acrylic on canvas, 68 1/8 × 56 in. (173 × 142.2 cm). Whitney Museum of American Art, New York; gift of The American Contemporary Art Foundation, Inc., Leonard A. Lauder, President 2002.254. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Crying Girl, 1963. Offset lithograph: sheet, 17 3/4 × 23 3/4 in. (45.1 × 60.3 cm); image, 17 1/4 × 23 1/8 in. (43.8 × 58.7 cm). Whitney Museum of American Art, New York; gift of Scott Newman 2021.135. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Compositions I, 1964. Oil, magna and pencil on canvas, 8 1/8 × 56 1/4 in. (173 × 142.8 cm). Museum für Moderne Kunst. © Estate of Roy Lichtenstein/DACS 2026. Photograph by Axel Schneider

Roy Lichtenstein, Foot Medication, 1962. Graphite on paper, 22 1/2 × 22 3/8 in. (56.2 × 56.8 cm). The Menil Collection, Bequest of David Whitney. © Estate of Roy Lichtenstein/DACS 2026. Photograph by Paul Hester

Roy Lichtenstein, Varoom!, 1963. Acrylic and graphite pencil on canvas, 56 × 56 in. (142.2 × 142.2 cm). Powers Art Center, Ryobi Foundation, Carbondale, Colo. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Turkey, 1961. Oil, graphite pencil on canvas, 26 × 30 in. (66 × 76.2 cm). Roy Lichtenstein Estate. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Blam, 1962 . Oil on canvas, 68 × 80 in. (172.7 × 203.2 cm) . Yale University Art Gallery. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Study for Brushstroke with Spatter, 1966. Oil on canvas, 49 7/8 × 61 7/8 × 1 3/4 in. (126.7 × 157.2 × 4.4 cm). Detroit Institute of Arts, Founders Society Purchase, Friends of Modern Art Fund, 66.119. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Femme au chapeau, 1962. Acrylic, oil, and graphite pencil on canvas, 68 × 56 in. (172.7 × 142.2 cm). Private collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Mirror # 1, 1969. Acrylic, oil, graphite pencil on canvas, 61 1/4 × 48 1/4 in. (155.6 × 122.6 cm). The Eli and Edythe L. Broad Collection (The Broad). © Estate of Roy Lichtenstein/DACS 2026 

Roy Lichtenstein, Greene Street Mural (Study), 1983. Collage, fiber-tipped pen, graphite pencil, brush and ink on board, sheet (sight): 9 × 42 1/4 in. (22.9 × 107.3 cm). Whitney Museum of American Art, New York; gift of the Roy Lichtenstein Foundation 2019.65. © Roy Lichtenstein Foundation/DACS 2026

Roy Lichtenstein, Little Big Painting, 1965. Oil and acrylic on canvas, 68 × 80 in. (172.7 × 203.2 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 66.2. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Brushstroke, 1965. Offset lithograph, 25 1/16 x 29 3/4 in. (63.7 x 75.6 cm). Whitney Museum of American Art, New York; gift of the Roy Lichtenstein Foundation 2019.98. . © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Two Paintings: Sleeping Muse, 1984. Woodcut, lithograph, screenprint, and collage on paper, 37 7/8 × 48 13/16in. (96.2 × 124 cm). Whitney Museum of American Art, New York; gift of the Roy Lichtenstein Foundation 2019.164. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Mirror #10, 1970. Oil and magna on canvas, 24 in. (61 cm) in diameter. The Museum of Modern Art, New York. Gift of UBS. © Estate of Roy Lichtenstein/DACS 2026 © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY 

Roy Lichtenstein, Artist’s Studio “Foot Medication”, 1974. Oil and Magna on canvas, 96 × 128 in. (243.8 × 325.1 cm.). Art Institute of Chicago; Gift of Edlis Neeson Collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Still Life with Goldfish, 1972. Acrylic, oil, graphite pencil on canvas, 52 × 42 in. (132.1 × 106.7 cm). Kip Kirkpatrick (through Heller Group). © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Happy Tears, 1964. Magna on canvas, 38 x 38 in. (96.5 x 96.5 cm). Private Collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, The Kiss, 1961. Oil, graphite pencil on canvas, 80 × 68 in. (203.2 × 172.7 cm). Private collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Artist's Studio "Look Mickey", 1973. Acrylic, sand, oil, graphite pencil on canvas, 96 1/8 × 128 1/8 × 1 1/2in. (244.2 × 325.4 cm). Walker Art Center, Gift of Judy and Kenneth Dayton and the T. B. Walker Foundation, 1981. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Laughing Cat, 1961. Oil, graphite pencil on canvas, 31 7/16 in. (79.8 cm) (diameter). Private collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Two Paintings: Radiator and Folded Sheets, 1983. Acrylic, oil, graphite pencil on canvas, 70 × 64 in. (177.8 × 162.6 cm). The Eli and Edythe L. Broad Collection (The Broad), Los Angeles. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Artist's Studio "Look Mickey", 1973. Acrylic, sand, oil, graphite pencil on canvas, 96 1/8 × 128 1/8 × 1 1/2in. (244.2 × 325.4 cm). Walker Art Center, Gift of Judy and Kenneth Dayton and the T. B. Walker Foundation, 1981. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Castelli Handshake Poster, 1962. Offset lithograph, 21 7/8 x 17 in. (55.6 x 43.2 cm). Frances Mulhall Achilles Library and Archives, Whitney Museum of American Art, New York; gift of the Roy Lichtenstein Foundation SC.2019.41 © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Temple, 1964. Offset lithograph, 23 3/4 x 17 3/4 in. (60.3 x 45.1 cm). Whitney Museum of American Art, New York; The Roy Lichtenstein Study Collection, gift of the Roy Lichtenstein Foundation 2019.95. © Estate of Roy Lichtenstein/DACS 2026 

Roy Lichtenstein, Washing Machine, 1961. Oil on canvas , 55 3/4 × 68 in. (141.6 × 172.7 cm). Yale University Art Gallery. © The Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Girl with Ball, 1961. Oil on canvas, 60 1/4 x 36 1/4 in. (153 x 91.9 cm). The Museum of Modern Art, New York. Gift of Philip Johnson. © Estate of Roy Lichtenstein/DACS 2026 © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Roy Lichtenstein, Drowning Girl, 1963. Oil and acrylic on canvas, 67 5/8 × 66 3/4 in. (171.6 × 169.5 cm). The Museum of Modern Art, New York. Philip Johnson Fund (by exchange) and gift of Mr. and Mrs. Bagley Wright. © Estate of Roy Lichtenstein/DACS 2026. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Roy Lichtenstein, Artist's Studio "The Dance", 1974. Acrylic, oil, graphite pencil on canvas, 98 1/8 × 128 3/4in. (249.2 × 327 cm). The Museum of Modern Art, New York. Gift of Mr. and Mrs. S. I. Newhouse, Jr. © Estate of Roy Lichtenstein/DACS 2026 © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Roy Lichtenstein, The Engagement Ring, 1961. Oil, graphite pencil on canvas, 67 3/4 × 79 1/2 in. (172.1 × 201.9 cm). Collection of Ronnie F. Heyman. © Estate of Roy Lichtenstein/DACS 2026 

Roy Lichtenstein, Ohhh... Alright..., 1964. Acrylic, oil, and graphite pencil on canvas, 36 5/8 × 37 1/2 in. (93 × 95.3 cm). Kenneth C. Griffin Collection. © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Rouen Cathedral, Set III, 1968-69. Acrylic, oil, graphite pencil on canvas (five panels), Left panel: 62 7/8 × 42 in. (159.7 × 106.7 cm); Left middle panel: 63 × 42 in. (160 × 106.7 cm); Middle panel: 62 15/16 × 42 in. (159.9 × 106.7 cm); Right middle panel: 62 15/16 × 42 in. (159.9 × 106.7 cm); Right panel: 62 15/16 × 42 in. (159.9 × 106.7 cm). The Eli and Edythe L. Broad Collection (The Broad). © Estate of Roy Lichtenstein/DACS 2026

Roy Lichtenstein, Modern Painting Triptych, 1967. Acrylic, oil, and graphite pencil on canvas (three joined panels), 36 1/8 × 107 7/8 in. (91.8 × 274 cm). Collection Neil G. Bluhm. © Estate of Roy Lichtenstein/DACS 2026