Rauschenberg integrated printing techniques, using photographs gleaned from newspapers and magazines and transferred to canvas by a silkscreen method, to continue the spirit of assemblage he had pioneered earlier. Creek's iconography balances the topical—space flight and the urban landscape—with the timeless—Rubens's Venus before the Mirror. Their juxtapositions are random, yet provocative enough to make the viewer speculate about the power of love and human feats. Rauschenberg’s roots in painting are vividly evident in the expressively brushed passages and in the lyrical combination of colors.