No one painted like Richard Lindner. His heraldic symbols of New York and his paintings of pimps and armored women were cultural commentaries far removed from Pop’s bland images. Dore Ashton writes of Lindner: “These masked creatures with their foibles painted or draped upon them are really none other than the medieval fools depicted by German woodcut masters in the Totentanz. Lindner’s dance of death unrolls in the modern metropolis, but it is no less eternal for that.”
