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