George Segal‘s Subway (1968) is a significant environmental sculpture in the collection of The Margulies Collection at the Warehouse. Segal (1924–2000), an American sculptor associated with the Pop Art movement (though often classified as a key figure in the related “figurative” or “assemblage” wave), is renowned for his life-sized plaster casts of human figures. He created these by wrapping models in plaster-soaked bandages, capturing realistic poses and everyday anonymity while leaving the surfaces white and ghostly. He frequently placed these figures in real, found environments to heighten the sense of isolation, alienation, or quiet observation of modern life.

Subway exemplifies this approach on a grand scale: It incorporates parts of an actual vintage New York City subway car that Segal salvaged from a junkyard. The work integrates this real metal subway car element with his signature plaster casts (including at least one seated figure, often described as evoking a contemplative or marginalized presence). The piece evokes the everyday urban experience of 1960s New York public transit — crowded yet isolating — with themes of anonymity, social distance, and the human condition in industrial/modern settings. Some interpretations note racial or social undertones (e.g., seating rights or exclusion in the late 1960s context, shortly after civil rights advancements), though Segal’s work generally focuses more on universal human solitude than explicit political messaging. The work is part of the Margulies Collection and currently featured in the Pop Art exhibition at The Margulies Collection at the Warehouse in Miami (until April 4, 2026).

George Segal: Subway (1968) / The Margulies Collection at the Warehouse. Miami (USA), December 1, 2025.

Dorota Gaweda and Egle Kulbokaite’s art installation at Swiss Art Awards 2026 exhibition. Official description: At the center of the installation, the film Spit and Image 2 follows a solitary figure through a fog-filled city, always seen from behind. Referencing the Romantic Rückenfigur and Magritte’s La Reproduction Interdite, the work explores mirroring, estrangement and contemporary image circulation through found online footage linked to climate anxiety and atmospheric phenomena. Presented within a glass installation, the film extends this logic of mediation into the exhibition space. The installation hosts Placeholder (right hand rubber glove! Ill, patinated bronze sculp-tures, and Mirror Mirror, which diffuses two chiral carvone fragrances.

Dorota Gawęda & Eglé Kulbokaité, Born (1986 & 1987) in Lublin (PL) / Kaunas (LT), work in Basel.

Artworks: Spit and Image 2 (Cabinet) 2025 (Installation: 2026). 4K single-channel video, color, sound, 15 min loop. Glass and aluminium 77×130×70 cm. Mirror Mirror (2025) Fragrances developed with 432 Perfumes, Beijing, two industrial aroma diffusers 17x x 19cm each. Placeholder (right hand rubber glove/Il and III 2026, Patinated bronze cast 5 x 28 x17cm.

Basel (Switzerland), June 17, 2026.

In this video, we explore the exhibition Roy Lichtenstein: Sweet Dreams, Baby! at the Kunstmuseum Basel. It presents prints from every phase of the career of Pop Art legend Roy Lichtenstein (1923–1997), many of which are being shown for the very first time. The video is divided into two segments. The first offers a silent walkthrough of the exhibition. In the second (from min. 06:24), curator Fabienne Ruppen presents selected highlights, including early works by Roy Lichtenstein and his innovative contributions to printmaking, exemplified by the 1989 piece Portrait.

Roy Lichtenstein. Sweet Dreams, Baby! at the Kunstmuseum Basel presents approximately fifty prints spanning the career of the American pop-art artist Roy Lichtenstein (1923–1997). Many are shown publicly for the first time, including thirty-three works given by the Roy Lichtenstein Foundation in 2023 to mark the artist’s centennial. This gift establishes one of the most significant collections of his prints outside the United States.

The exhibition surveys Lichtenstein’s colorful, ironic engagement with consumer culture, advertising, and comic-book aesthetics—enlarged details, bright colors, and Ben-Day dots—that helped define pop art in the 1960s. Early prints from the late 1940s and 1950s demonstrate his experimental approach to techniques. From the late 1960s he collaborated with professional studios such as Gemini G.E.L. and Graphicstudio, producing technically complex works combining lithography, woodcut, screen printing, and other methods.

Over five decades Lichtenstein created more than 350 prints. The display is complemented by works already in the museum’s Kupferstichkabinett and the paintings Hopeless (1963) and Mirror #2 (1970). Thematic rooms explore still lifes, reinterpretations of art history, decorative objects, and the artist’s collaborative printmaking process.

Roy Lichtenstein: Sweet Dreams, Baby! Kunstmuseum Basel | Neubau. Press preview, August 20, 2026.

00:00 – Intro 00:15 – Roy Lichtenstein and Pop Art Printmaking 01:00 – Still Lifes — Forms of the Everyday 02:21 – New Interpretations — Pop Art Meets Art History 03:48 – Innovation — Collaboration as a Creative Motor 05:41 – Decoration — Pop Art For Your Home 06:24 – Exhibition Tour (Highlights) with Curator Fabienne Ruppen 06:34 – Gift from the Roy Lichtenstein Foundation 06:58 – Roy Lichtenstein’s Signature Style and Techniques 07:52 – Ben-Day Dots 08:43 – Early Works 10:40 – Innovations in Printmaking 18:48 – The Mermaid 19:49 – The Lichtenstein Lounge

Exhibition text:

The Kunstmuseum Basel presents prints from all periods of the pop-art legend Roy Lichtenstein’s (1923–1997) oeuvre. Many of the approximately fifty works have never been on public display. The exhibition is held on occasion of a generous gift from the Roy Lichtenstein Foundation, thanks to which the Kunstmuseum’s Kupferstichkabinett (Department of Prints and Drawings) now has one of the most important collections of Lichtenstein’s work outside the United States.

Roy Lichtenstein. Sweet Dreams, Baby! showcases a representative survey of Lichtenstein’s colorful and vibrant world. The exhibition sheds light on how the American artist became a pioneer of pop art (short for “popular,” in the sense of popular culture) in the 1960s with his catchy motifs, love of experimentation, and brilliant technique. With plenty of wit and irony, Lichtenstein transposes the visual language of consumer goods, advertising brochures, and store-window displays into visual art. The comic-book aesthetic, in particular, is a vital source of inspiration: enlarged details (close-ups), luminous colors, and Ben-Day dots become hallmarks of his art.

The New York art scene initially responds to pop art with shock, perceiving it as banal. Meanwhile, the familiar imagery of this new mode of creative expression appeals to a wide audience, in no small part due to the medium of printmaking and its reproducibility: Lichtenstein’s first prints featuring the comic-book aesthetic are posters and invitations for his exhibitions at the Leo Castelli Gallery in New York. They are printed inexpensively in large runs and make the artist a household name.

Lichtenstein’s interest in printmaking dates back to his student years. The exhibition includes six examples from the late 1940s and early 1950s that illustrate the rigor of his experimentation with various printmaking techniques early in his career. From the late 1960s onward, he collaborates with renowned printing studios such as Gemini Graphic Editions Limited, Los Angeles; Tyler Graphics, Bedford, N.Y.; and Graphicstudio at the University of South Florida, Tampa. In close consultation with their staff, he produces technically masterful individual prints and series. Portrait (1989), for instance, is the result of an eighteen-step printing process. The combination of four different techniques—lithography, woodcut, screen printing, and wax printing, which was developed specifically for this project by Graphicstudio—produces exceptionally varied surface effects ranging from mat areas to glossy and iridescent spots to fluid-looking brushstroke motifs.

In the course of five decades, Lichtenstein creates over 350 screen prints, etchings, lithographs, woodcuts, and linocuts. In celebration of the artist’s centennial in 2023, the Roy Lichtenstein Foundation has given a total of approximately one hundred prints to the Albertina in Vienna, the British Museum in London, and the Kunstmuseum Basel, establishing three reference collections in Europe. The Kunstmuseum received thirty-three works that showcase the full diversity of Lichtenstein’s oeuvre as a printmaker. These include printed Paper Plates (1969) as well as an unconventional reinterpretation of Vincent van Gogh’s The Sower (1985) and the monumental Wallpaper with Blue Floor Interior(1992).

The exhibition Roy Lichtenstein. Sweet Dreams, Baby! brings the public debut of this gift in Basel. It is rounded out by additional prints by Lichtenstein from the Kunstmuseum’s Kupferstichkabinett, which began acquiring his work in the 1960s, and the paintings Hopeless (1963) and Mirror #2 (1970), both of which are on permanent loan to the Kunstmuseum.

The Roy Lichtenstein Foundation was established in 1998 by Dorothy Lichtenstein (1939–2024), the artist’s widow. Its mission is to make his work accessible to the public, including by producing a continually updated online catalogue raisonné.

Sections of the Exhibition

Room 1: Roy Lichtenstein and Pop Art Printmaking

With the advent of Pop Art (short for “popular”, in the sense of popular culture) in the 1950s, the imagery of everyday life found its way into art. After World War II (1939–1945), the United States experienced profound social contradictions. On the one hand, the Civil Rights Movement gained strength, household appliances such as televisions and refrigerators were becoming more affordable, and the dawn of space flight inspired hope for the future. But at the same time, the Cold War, the Vietnam War (1955–1975), and the assassination of President John F. Kennedy in 1963 cast this optimism into doubt. 

Against this backdrop, the American artist Roy Lichtenstein (1923–1997) made a significant contribution to a new form of expression, transposing the visual language of consumer goods and advertising into fine art with humor and irony. The characteristic features of mass media served as his stylistic devices. In particular, he embraced the aesthetics of comics. Their typical elements—enlarged details, vibrant colors, and patterns of evenlyspaced dots (called Ben-Day dots)—became his trademarks. 

The New York art world was initially shocked by Pop Art, perceiving it as trivial. The familiar visual vocabulary, however, attracted a new, broader audience. Printmaking played a significant role in its popularity. Exhibition posters and invitations printed in large quantities made Lichtenstein widely known. 

To commemorate the anniversary of the artist’s 100th birthday in 2023, the Roy Lichtenstein Foundation donated 33 prints to the Kupferstichkabinett (Department of Prints and Drawings) at the Kunstmuseum Basel, which are now on display for the first time. They offer a representative overview of Lichtenstein’s body of print work, in which his engaging motifs—rendered in silkscreen prints, etchings, lithographs, woodcuts, and linocuts—are handled with technical virtuosity and a palpable delight in experimentation.

Room 2: Still Lifes — Forms of the Everyday

Pop Art artists were fascinated by simple, everyday objects. Throughout his career, Roy Lichtenstein devoted a great deal of attention to a wide variety of foodstuffs as well as items of furniture. He was particularly intrigued by glasses and mirrors, abstracting their transparent or reflective surfaces into dots and straight lines. 

The still lifes vividly illustrate the breadth of Lichtenstein’s formal vocabulary. Aside from the Ben-Day dots, it also includes caricaturishly exaggerated brushstrokes. The brushstroke is the mark of the artist’s hand and is ultimately a symbol of painting as such. It played an especially significant role in Abstract Expressionist painting in the USA from the late 1940s to the 1960s. The painters of this movement sought not so much to represent a recognizable motif but rather to express emotions through bold brushwork and color. Lichtenstein took the highly individual and seemingly spontaneous painterly gesture to the point of absurdity by laboriously constructing it and transposing it into the anonymous aesthetic of the comic book.

Room 4: Innovation — Collaboration as a Creative Motor

In the late 1960s, Roy Lichtenstein began to engage more rigorously with art history, focusing particularly on the question of what defines artistic style. He identified the essential features of various modern Western art movements and incorporated them into his own artistic vocabulary. Magnification, simplification, and schematization give iconic masterpieces the appearance of massproduced items. Through such reinterpretation, Lichtenstein highlighted how art that was once radical had long since found its way into popular culture. 

Around the same time, Lichtenstein began collaborating with professional print studios such as Gemini G.E.L. (Graphic Editions Limited) in Los Angeles. Their technical expertise lent his prints an unprecedented level of precision. From then on, in addition to individual prints, he would also produce annual series of six to eight prints. Thanks to the reproducibility of prints, the same motif could be explored in various ways, for instance in different color variations.

Room 3: New Interpretations — Pop Art Meets Art History

In the 1960s, so many painters and sculptors in the United States began experimenting with printmaking that the period came to be known as a print revival (the so-called “Print Renaissance”). Roy Lichtenstein, however, had already been familiar with a wide variety of techniques from his student days in the 1940s. As his works grew in complexity, he became increasingly more involved in the printing process. His long-standing collaboration with highly professional print studios motivated him to continually explore the potential of printmaking anew. 

The rendering of these works, which sometimes required over 30 printing passes, was extremely demanding and often took several months. A common feature of many of these pieces is the combination of different printmaking techniques. Each technique creates specific surface effects. The layering of glossy, matte, flat, and relieflike textures lends Lichtenstein’s prints a sensual, threedimensional quality.

Room 5: Decoration — Pop Art For Your Home

Pop Art drew its motifs and materials from contemporary everyday life in the US. In turn, Pop Art works then became part of that everyday life themselves. Aside from paper plates, Roy Lichtenstein designed printed fabrics and T-shirts, wrapping paper, and wallpaper. He conceived of his art as a practical enrichment of life and created numerous murals and sculptures for public spaces as well. 

In keeping with this idea, Lichtenstein also explored architectural motifs. Repeatedly emphasizing the tension between three-dimensional space and the two-dimensional picture plane, he humorously thematized the gap between reality and representation. Art and life were for him understood equally as fiction. His entire body of work can be seen as a commentary on consumer culture and the notion that money and material possessions bring happiness.

Room 6: Welcome to the Lichtenstein Lounge

Have a seat and immerse yourself in publications about Roy Lichtenstein’s art! Or create your own compositions using brushstrokes, dots, and grids on the magnetic board. Lichtenstein prepared many of his prints using collages, layering colored papers and patterns one on top of another and moving them around in whatever configuration he pleased. The two exhibition posters from Bern and Stuttgart are representative of the numerous opportunities European audiences had to discover Lichtenstein early in his career. 

The two posters for exhibitions in New York, for their part, were sent out as invitations or sold as limited editions. These affordable prints are one reason why Lichtenstein’s art can still be found in many living rooms today.

Deo Vindice (Orion’s Cabinet) is an artwork that has been created in 2025 by Abigail DeVille (b. 1981, New York, New York). It has been part of the group show “Monuments” at The Geffen at MOCA and The Brick in Los Angeles.
Deo Vindice (Orion’s Cabinet), 2025, consists of China cabinets, charcoal, rusted steel scaffoiding, pig blood, sall, mud, lights, and natural fiber. This is what the official description says about the piece: “Commissioned by The Museum of Contemporary Art, Los Angeles and The Brick Courtesy of the artist Abigail DeVille creates immersive sculptural installations, often with found matenals, that gesture to both the past and the future, placing historical events within a larger, even cosmolog ical context. History, mythology, memory, and loss intersect in visceral and poetic fashion in Deo Vindice (Orion’s Cabinet).
The work’s arrangement of charred and blistered colonial-style curiocabinets was inspired by photographs of Richmond, Virginia, the capital of the Confederacy, which was set ablaze and nearly razed to the ground by the retreating Confederate army in the final days of the Civil War. In DeVille’s work, the cabinets are both ruined political landscape and scarred holders of domestic memory. The work’s title, Deo Vindice, was the motto of the Confederacy. Translated as “With God as Our Defender” or “God Will Avenge,” the phrase underscored the Confederate belief that its formation was divinely foretold and its failed war to defend slavery was just.”

Abigail DeVille: Deo Vindice (Orion’s Cabinet), 2025. The Geffen Contemporary at MOCA, Los Angeles, March 6, 2026.

At the Swiss Art Awards 2026 exhibition, Swiss artist Karin Borer presents her work “The White Rabbit Illusion”. Official description: The White Rabbit illusion transforms an oversized white rabbit into a drinking fountain. In order to drink, one must place their head inside its open mouth. The work continues my investigation into illusion, control, and perception: nature appears as a staged surface, while the body becomes part of a choreography between seduction and discomfort. The white rabbit emerges as a projection surface for collective nagination oscillating between mythology, fairy tale, and deception.

Karin Borer: The White Rabbit Illusion, 2026 / Swiss Art Awards 2026. Basel (Switzerland), June 17, 2026.