The only way to pick highlights from the current show is to look at each category. Among the early pop art, the back wall of the gallery is dominated by a 12-foot oil-on-canvas in nine panels of Anna Karina, with thousands of monochrome newsprint dots done in 1963.The Bardot image, with its superimposed circle, is much smaller yet as striking; and the bikini girls are alluring. The abstract sculptures, some of them austere pyramids, are a more acquired taste, though the figurative works are stunning, leading up to the 1977 “An American Girl” — the culmination of the Galina series — and the more realistic “Flora” from 1982 near the entrance.
The chronological mixing up of old and new works through the rooms is smart, with political paintings ranging from depictions of the Kennedy assassination in the 1960s to the Iraq War protest works. Still, the show reaches its peak with the oil-on-canvas and screen prints in the basement, soon acquiring a lot of red dots. Among the crowning glories are Laing’s trademark geometrical shapes, such as the lower triangle and superimposed oval added to the Moss and Winehouse pictures — witty, sexy, and daring. Pop art at its best.