Sigmar Polke's *Stadtbild II (City Painting II)* from 1968 exemplifies his signature use of Ben-Day dots, mimicking the mechanical reproduction of mass media imagery to depict an urban landscape. The work blurs the boundary between painting and print culture, transforming the city scene into a fragmented, halftone-like composition that critiques consumer society and the commodification of images. Rooted in the German Pop Art movement known as Capitalist Realism, Polke uses this technique to question authenticity and the nature of representation in the modern world.