Above, top to bottom: James Dunphy’s exhibition graphics were designed to be assembled within the viewer’s eye with optical effects like foreshortening and reflection. Katie Richanbach’s campaign was inspired by the color interaction studies of Josef Albers. Alison Munn’s buttons and posters use optical after-images to reveal branding only after the viewer has passed it by.

Wikipedia reports the following:

In 1965, an exhibition called The Responsive Eye, created by William C. Seitz was held at the Museum of Modern Art in New York City. The works shown were wide ranging, encompassing the minimalism of Frank Stella, the smooth plasticity of Alexander Liberman, the collaborative efforts of the Anonima group, alongside the masters of the movement: Victor Vasarely, Bridget Riley and the Italian Getulio Alviani. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. The exhibition was enormously popular with the general public, though less so with the critics.

Suppose in honor of the show’s 45th anniversary, MoMA is bringing many of the original works back to the museum and placing them alongside contemporary examples from the worlds of art and design.

On the blog this week, propose several works you think the curators should consider as they make their final selections. In the meantime, design 3 or 4 headline treatments for MoMA’s outdoor advertising and prepare comps showing the headline treatments in place. Along with these treatments, plan to show the process by which you developed this typographic solution, including working drawings, mathematical models, optical distortion effects, etc.

This assignment is from the class Typographic Research.