Rauschenberg similarly appropriated news photography and mass media imagery into silkscreen works during the 1960s, creating pieces that processed American political trauma and cultural events with a raw documentary sensibility closely aligned with Warhols approach in Flash.

Ruscha shares Warhols interest in transforming American cultural artifacts and media language into Pop Art screenprints, using repetition and flat graphic techniques to comment on collective identity and the American experience of the 1960s.

Rosenquist drew directly from mass media photography and advertising imagery to create large scale Pop Art works that reflected on American political and cultural life, employing a similarly cool and detached visual language to process historical events and collective memory.