Glaser’s clever trompe l’oeil design for a poster promoting a 1966 exhibition of Polish posters at the School of Visual Arts suggests that the top poster is torn to reveal part of another one with the same message below it. The typographic design, bold coloring, and fractured forms evoke the style of the Polish School of Posters that emerged after World War II as well as the country’s ragged modern history. The posters came from the collection of Barry Feinstein, an influential rock photographer who had made his name with his images of Bob Dylan on tour in 1966 and 1974. Glaser collaborated with Feinstein in 1966 on an album cover for the band Peter, Paul and Mary. This was also the year that Glaser made his now-iconic psychedelic poster of Bob Dylan, designed to be packaged with the album Bob Dylan’s Greatest Hits.