Haystack #2 (C.66) shifts the chromatic register of Roy Lichtenstein's Haystack Series into something considerably more complex. Haystack #1 worked in solid yellow; here the work draws in layered rose-pink and green-grey, the dot patterns overlapping to produce a surface that has more optical activity than any single colour could achieve. The haystack form is still clearly present but the image is richer — closer, paradoxically, to the tonal depth of Monet's original canvases while remaining entirely committed to the print logic that separates Lichtenstein's approach from Impressionism. This paradox was central to what the Haystack Series was doing.

Lichtenstein was not making anti-Impressionist work in any simple polemical sense — he was probing Impressionism's mechanisms from the inside, using its own subject matter and serial format to ask what its claims about vision actually amounted to. Haystack #2 (C.66) demonstrates that the Ben-Day dot can produce chromatic complexity and optical richness; the question it poses is whether that richness is meaningfully different from Monet's, or whether both are simply different systems for constructing the appearance of light.

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