Landscape 2 (C.52) is the first work in Roy Lichtenstein's Ten Landscapes to deploy the Rowlux moiré overlay that would become a defining material of the series. A translucent moiré sheet is screenprinted on top of the work, bringing a shimmering, interference-pattern surface that shifts as the viewing angle changes — a quality that no conventional print medium could achieve, and one that adds optical movement into what would otherwise be a fixed image. The piece depicts swirling, wave-like forms in grey against white, the moiré overlay intensifying the sense of movement.

The use of Rowlux placed the Ten Landscapes in close parallel with the Op Art movement that had gained international attention at the 1965 The Responsive Eye exhibition at MoMA.

Where Bridget Riley and Vasarely pursued optical effects through geometric precision, Lichtenstein used the moiré material to add shifting reflective effects into a series otherwise defined by surface evenness — a typical move, importing the territory of another tendency into his own output without adopting its values. Lichtenstein was in a position of considerable authority by 1967.

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