Reviewing the latter exhibition in Artforum's October 2003
issue, art historian Michael Lobel noted that «the large scale of much of Rosenquist's work was initially intended to offer the viewer some critical perspective on commercial imagery by calling attention to its numbing blankness,» and that «the hallmarks of Rosenquist's mature style — the slick rendering, the vibrant Pop colors, the sustained attention to the
surfaces of commodity objects ---- are brought together to imbue [his smaller] works with an uncanny
psychological resonance.»