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Abstract

absent from the avant-garde anti-figuration of mid-century abstraction, the figure once again became a privileged site for presentation and representation in Pop. Yet, in his catalog essay Sergio Delgado Moya claims that the figure in Pop, rather than a return of the repressed, is marked by defilement, defacement, and disfiguration and works that deconstruct and decenter conventional representational codes, thereby mounting a critical response to celebrity and pop-culture-obsessed US Pop.