This bannerlike painting on a variety of printed fabrics suspended from a pole combines imagery drawn from political, consumer, and fashion sources. Working in Germany, Polke borrows idioms from American Pop art, including Andy Warhol's imagery and the benday dots used by Roy Lichtenstein. Here, Mao Zedong's portrait is juxtaposed with tabloid headlines, Chinese figures, and crowds. The competition between image and message visually reflects Polke's question: "Does meaning create relationships or do relationships create meaning?"
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