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Lichtenstein at the Whitney: Six Decades, from Mickey to Mirrors

Roy Lichtenstein: Like New

The Whitney Museum of American Art opens Roy Lichtenstein: Like New, the artist's first New York retrospective since 1993. A look around the galleries on the show's second day.

Donald pulls a fishing rod on a yellow dock while Mickey covers a grin, under the speech balloon LOOK MICKEY, I'VE HOOKED A BIG ONE!!
Look Mickey (1961) | Photo: Haruki Higashi / NBT

Roy Lichtenstein: Like New opened on the fifth floor of the Whitney Museum of American Art on October 11, 2026. The retrospective follows about six decades of the artist's work, from the 1940s to the 1990s, through paintings, drawings, sculpture, film and prints. It is his first New York retrospective since 1993.

A white wall reading ROY LICHTENSTEIN LIKE NEW, with visitors walking past
The title wall at the fifth-floor entrance | Photo: Haruki Higashi / NBT

Look Mickey (1961) copies a single cartoon panel onto a large canvas. On a yellow dock, Donald hauls on his rod under the balloon "LOOK MICKEY, I'VE HOOKED A BIG ONE!!" The hook, though, has caught the tail of his own jacket, and Mickey covers his mouth to hold in a laugh. On Mickey's cheek, the red dots of a printer's screen are painted in one by one.

Mickey's face, a gloved hand over his mouth, with red dots on his cheek
Detail of Look Mickey | Photo: Haruki Higashi / NBT

Around the same time, Lichtenstein painted ordinary things one at a time: a tire, a coiled cord, a golf ball, a hot dog. Rendered in black lines and dots, as flat as an ad illustration, they hang well apart on pale walls. The show also reunites, for the first time, all eight works from his 1962 Pop debut at Leo Castelli Gallery.

A tire drawn in black lines inside a white frame
A tire in black and white | Photo: Haruki Higashi / NBT
A coiled cord painted in black on white
A coiled cord | Photo: Haruki Higashi / NBT
A golf ball whose dimples are drawn as crescents, in a white frame
A golf ball | Photo: Haruki Higashi / NBT
A hot dog outlined in heavy black on a field of dots
A hot dog on a dotted ground | Photo: Haruki Higashi / NBT

There are many small drawings, too. In one, in a wooden frame, the same dots fill the face of a woman holding a telephone. Up close, a hand tilting a yellow box and the contents pouring out are each closed off by heavy outlines.

A small drawing of a woman holding a telephone receiver, in a wooden frame
A small framed drawing | Photo: Haruki Higashi / NBT
Detail: a hand tilting a yellow box, its contents pouring out, all bounded by heavy outlines
Detail of a work | Photo: Haruki Higashi / NBT

Step back and the scale of the work, and of the crowd, comes through. On October 12, the show's second day, visitors filled the wall of dotted cathedral paintings and the room with the yellow window.

Tall paintings in yellow, pink and blue dots hang side by side as visitors stand in front
A wall of dotted cathedral paintings | Photo: Haruki Higashi / NBT
Visitors fill a gallery hung with a painting of a yellow window
A gallery on the second day of the show | Photo: Haruki Higashi / NBT

Mirrors were another recurring subject. The round mirror shows no reflection at all, only a green field and dots. In a still life with a goldfish bowl, red fish and yellow fruit are built from the same flat color and dots.

A round work on the wall that shows a mirror as a green field and dots
A round mirror painting | Photo: Haruki Higashi / NBT
A still life with a bowl of red goldfish and yellow fruit
Still life with a goldfish bowl | Photo: Haruki Higashi / NBT

By the fifth-floor windows stands a long panel of a sun and waves in black lines and dots, with the Hudson River outside. The show also recreates three murals, including Greene Street Mural (1983).

A long black-and-white panel of a sun and waves in dots, set before the gallery windows
A long panel by the windows, with the Hudson River beyond | Photo: Haruki Higashi / NBT
A visitor walks in front of a mural of black-and-white patterns and teal panels
A visitor walks past a mural | Photo: Haruki Higashi / NBT

A vitrine holds sketchbooks pasted with advertising clippings. How did he choose printed images from comics and ads, and how did he redraw them? The show lets you follow the process through both finished works and source material.

An open sketchbook in a vitrine, pasted with clippings of product ads
A sketchbook of advertising clippings | Photo: Haruki Higashi / NBT

Exhibition: Roy Lichtenstein: Like New
Venue: Whitney Museum of American Art (99 Gansevoort Street), Floor 5
Dates: October 11, 2026–May 10, 2027
Official site: https://whitney.org/exhibitions/lichtenstein
Artworks © Estate of Roy Lichtenstein