It’s a vulnerability echoed in the disarmingly pretty “Camouflage” paintings. For these acrylic and silkscreen paintings, Warhol took another ready-made design—the color patterns used by military dress to help soldiers blend into an environment—and accentuated the geometric compositions and color play involved. It’s a shrewd visual strategy: By the ’80s, camo patterns were as globally recognizable as Coke bottles, which Warhol riffed on by choosing colors that stand out, such as red, white, and blue or shades of lavender. It’s playfully political—the very idea of red, white, and blue camo given the United States’ continued military presence world-wide is a satirical commentary that just doesn’t get old (especially, as Keith Hartley points out in his essay in the exhibition’s catalog, “Anyone less militaristic than Warhol is hard to imagine”)—and coyly distancing at the same time. While achieved through Warhol’s familiar combination of silkscreen and acrylic, the patterns themselves don’t easily fit into any of Warhol’s vast vocabulary. With them he wittily finds a way to call attention to his compositional gifts—some of these paintings achieve a modernist lyricism—through visual patterns meant to conceal.