#11 - Must Be True

[az305203]

For answer choice (E), I've read the explanations of why this clause is supported / why this answer choice is correct, but "to comment on society's values" is a bit of a stretch here, no? A commentary on societal values really refers to something like dignity, human rights, morality, etc. An artistic statement on consumerist / materialistic culture would be pretty much the exact definition of a commentary on societal values, and the passage specifically relates that to some pop art and directly presents Lichtenstein's art as counter to that trend. I consequently eliminated this answer because I thought it was a Shell Game played with those details, which in my experience happens pretty frequently in RC:

But, in contrast to some pop art, Lichtenstein's work exuded not a jaded cynicism about consumer culture, but a kind of deliberate naivete

I understand now why the answer I chose -- A -- is incorrect, but at the time it seemed as though it was the least off-base answer of the 5, and to me it still seems as though "to comment on society's values" was a rather erroneous way for the test makers to have constructed a correct answer choice?

[James Finch]

Hi AZ,

A comment doesn't necessarily have to be profound; while the passage doesn't paint Lichtenstein as a great social critic, it does mention throughout that he intended his works to be commentary on the society in which he lived:

Lines 8-10: "Lichtenstein’s work also managed to convey a seriousness of theme that enabled it to transcend mere parody."

Lines 27-30: "Lichtenstein’s work was part of a general rebellion against the fading emotional power of abstract expressionism, rather than an aloof attempt to ignore it."

Lines 50-51: "...nostalgia fills his paintings that gives them...an inner sweetness."

Moreover, the first part of (E) is the only one of the five answer choices that closely tracks with the description of his Pop Art style, inspired as it was by advertisements and comic books, ie consumer products and the way they were marketed.

Hope this helps!

[lsatquestions]

Can you please explain why D is incorrect? I understand that his work is less a comment on consumer culture (like other late-abstract expressionist works) and more a social commentary esp among contemporary artists of his time. Is the first half of the answer choice also wrong? I was thrown off by E because I associate depictions of items as they appear with Warhol rather than with Lichtenstein (yes I know, outside knowledge).

[Adam Tyson]

"Vague shapes and images" is not typical of the realism that Lichtenstein paints. His stuff is a lot closer to Warhol than to abstract expressionism.

[anirbanmukherjee]

There is some debate about E, with some viewing it as less than ideal. The core issue lies in whether Lichtenstein’s art genuinely commented on “society’s values.” While the first part of the question seems straightforward, the second part—regarding his commentary on societal values—is where opinions diverge.

However, the passage makes it clear that Lichtenstein did engage with at least one core aspect of society’s values: our artistic sensibilities. By borrowing the visual language of comic books and advertising, he challenged the notion that fine art must be rarefied or elite. He also questioned our collective judgment about what is considered “worthy” of artistic recognition. The passage underscores this through phrases like “paraphrasing the style of comic books,” “poking fun at the pretensions of the art world,” “conveying a seriousness of theme… that transcended mere parody,” “general rebellion against the fading emotional power of abstract expressionism,” “an urge to say what was missing from contemporary painting,” “response to the excess of sophistication,” and “reconciliation, not only between cartoons and fine art but between parody and true feeling.”

From these examples, it is clear that Lichtenstein was pushing back against established artistic norms and, by extension, critiquing the societal values that upheld those norms. In questioning what constitutes “high art” versus “low art,” he was commenting on broader cultural values. By depicting everyday products in the style of magazine advertisements and elevating them to the realm of fine art, he encouraged viewers to reconsider their assumptions about what “counts” as art.

This perspective aligns E perfectly with Lichtenstein’s work and the broader Pop Art movement.

It recalls earlier provocations, such as Duchamp’s readymades. If a bicycle wheel or a urinal was intended to spark debate over whether art must be singular and unique or could be commercial and mass-produced, then Lichtenstein’s focus on comic-book heroines—or, potentially, a box of cereal or a table fan—poses a similar challenge. Whether he was depicting women as portrayed in mass media or everyday objects as they appear in advertisements (as seen in his Ladies collection), Lichtenstein consistently confronted societal boundaries and narratives about art and culture.

Thus, E is not just plausible—it aligns seamlessly with Lichtenstein’s iconography, which blends irony, social commentary, and the re-appropriation of popular culture.