Lichtenstein shared Warhol's commitment to pop art by transforming mass media imagery into bold screenprinted works that challenged the boundary between commercial and fine art. His use of flat colors, strong outlines, and appropriated imagery directly parallels Warhol's treatment of Mao as a commodified cultural icon.

Fairey creates screenprinted portrait works that fuse political iconography with bold graphic aesthetics, most famously in his Obama Hope poster, echoing Warhol's transformation of political figures into flattened, high contrast graphic symbols. His work similarly commodifies and recontextualizes powerful political figures through commercial printing techniques.

Richter's works from his Photo Paintings series similarly interrogate political and historical imagery by appropriating photographic portraits and transforming them through a distinctly aesthetic and conceptual lens. Like Warhol's Mao series, Richter confronts the relationship between power, representation, and mass reproduced imagery.