Word: multipanel
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Dates: during 1986-1986
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Though he was never a "political artist" as such, a political current --generally of a milky, liberal kind--surfaces in Rosenquist's work. It produced a number of bland icons but one real masterpiece as well: F-111, 1965, the 86-ft.-long, multipanel anti-Viet Nam mural that caused a hullabaloo when the Metropolitan Museum chose to exhibit it in the '60s. Unlike most political art of the time, it looks unpolemical at first, and that is the source of its power. It sums up Rosenquist's vision of America as an Eden compromised by its own violence...
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