Haystack #6, State II (C.72) presented the haystack image in a cooler blue-grey palette on Special Arjomari paper — the third colour state of the same lithographic matrix, each state applying a different chromatic key to show that variation could be achieved systematically, not through observation. The blue-grey palette connected Haystack #6, State II (C.72) to the cooler works elsewhere in Roy Lichtenstein's Haystack Series — particularly Haystack #3 — and reinforced the series' chromatic range: from warm yellows through reds and pinks to the cool blues and greys that sat at the opposite end of the spectrum from Monet's warm Normandy light. The full range of colour states, taken together across the series, constituted a systematic survey of what different chromatic keys did to a subject. The production of multiple states from a single matrix was itself a statement about the print medium and its relationship to Impressionist painting. Monet's haystacks were unrepeatable singular objects — paintings tied to specific moments of light and atmosphere. Lichtenstein's prints were reproducible, with images capable of existing in multiple colour states without any of those states being more authentic or more original than the others.

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