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Lichtenstein: Seeing Is Believing Al the Museum of Contemporary Art in North Miami, arecent exhibition—replete with visually cunning paintings, works on paper and sculptures—eaxamined Roy Lichtenstein’s career-long preoccupation with spatial illusions and the science af perception. oy Lichtenstein: Maquette for House I, 1986, ‘ape, printed and painted paper on foamcore, BY RONI FEINSTEIN ne of the central works in the exhibition -Roy Lichtenstein: Inside/Outsde,” recently presented at the Museum of Contemporary Art (MOCA) in North Miami, was a cutout image of a suburban house made of painted wood. The prominence ofthe piece owed largely tn its siae— 10% feet high and 16% feet wide—but the full- scale maquette for House I (1096) also drew tention because of the suprise it delivered to museum vistors wat from a distance, appeared to be a representation ofa house with its three dimension implied in low rele was actualy an aavangement of shapes outed onthe panes set at angles, Ikea sereen, What appeared to be a ‘mackrad-slantng ro (ais, one receding ito

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