Roy Lichtenstein took the cheapest thing in print — the mechanical Ben-Day dot screen of 1950s romance and war comics — and repainted it huge, deadpan, and heroic. Primary inks march in perfect halftone grids, every shape fenced by a thick black contour, speech balloons and jagged onomatopoeia crashing across the frame.

It is commercial reproduction imitated so precisely it becomes fine art. The system reads like a single comic panel exploded to fill a wall: benday fields, hard black outlines, and a yellow-bordered balloon shouting the headline — a printed thing magnified until you see every dot, and completely unashamed.