Peace Through Chemistry II (C.97) shifts the chromatic range of the series toward a cooler, more metallic palette — blue and yellow against grey, the industrial forms reading with a clarity that the warmer, denser colours of Peace Through Chemistry I had complicated. The choice of the work being horizontal presents a similar arrangement of interlocking gears and mechanical elements, but the cooler palette gives the work a more detached quality — closer to the actual colour coding of technical illustration and further from the decorative richness the first work had achieved.

This chromatic variation was consistent with Lichtenstein's serial method. Through the Haystack and Cathedral series he had demonstrated that applying different colour relationships to a fixed structural structure could yield works of genuinely distinct character — and the Peace Through Chemistry prints applied the same logic, each work using colour to inflect the shared industrial imagery in a different direction. Peace Through Chemistry II (C.97) was the most technically literal of the group: the cool blue and yellow palette sat closest to the established colour coding of engineering diagrams, the work most resembling its source material. This proximity to the source was not a failure of transformation but a deliberate strategy.

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