Robert Rauschenberg, ‘Pegasits/ ROCI USA (Wax Fire Works)’, 1990, Locks Gallery

Washington, D.C., National Gallery of Art, Rauschenberg Overseas Culture Interchange, May 12–September 2, 1991. (AP1 exhibited)
Nashville, TN, Vanderbilt University Fine Art Gallery, Robert Rauschenberg: An American Iconoclast, January 31– March 18, 2004, (another edition exhibited)
London, Bernard Jacobson Gallery, Robert Rauschenberg: ROCI/USA, October 14– November 20, 2004, (another edition exhibited)
New York, Jacobson Howard Gallery, Robert Rauschenberg: ROCI/USA, January– February, 2005, (edition 13/55 exhibited)
Philadelphia, Locks Gallery, Robert Rauschenberg, April 1–30, 2005, (edition 13/55 exhibited)
Nice, Musee d'art moderne et d'art contemporain, Robert Rauschenberg: On and Off the Wall, June 24, 2005– January 8, 2006. (another edition exhibited)
Philadelphia, Locks Gallery, Robert Rauschenberg, February 7 - March 15, 2014, (this edition exhibited)

Rauschenberg Overseas Culture Interchange, exhibition catalogue, 1991 National Gallery of Art, Washington, color reproduction page 21.

M. Knoedler & Co., Inc., New York, (published by Saff Tech Arts)
private collection, acquired from the above in 1991
Locks Gallery, Philadelphia

About Robert Rauschenberg

Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.

American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida