Roy Lichtenstein’s Sandwich and Soda (1964) is a striking example of the artist’s transformation of ordinary consumer imagery into the elevated language of Pop Art. Executed as a screen print, the work depicts a simple lunchtime meal: a diagonally cut sandwich on a plate, accompanied by a tall glass of soda fizzing with bubbles, and a neatly wrapped pair of straws. Rendered in Lichtenstein’s unmistakable graphic style, the composition relies on a bold palette of red, blue, and white, creating a sharp contrast that emphasizes the flatness of the image while mimicking the aesthetic of mass-produced advertising.

The subject matter itself underscores Pop Art’s central concern with everyday life and mass culture. By isolating and enlarging the banal—here, a quick, inexpensive meal—Lichtenstein transforms it into an object of contemplation, parodying both fine art traditions of still life and the pervasive visual language of mid-century commercial illustration. His use of clean outlines, stylized forms, and mechanical reproduction techniques strips the meal of individuality and instead situates it as a symbol of consumer America, echoing the post-war boom in convenience, branding, and fast food culture.

Unlike Lichtenstein’s comic strip paintings of the same period, Sandwich and Soda does not rely on narrative or dramatic imagery; instead, its power comes from the stark simplicity of its presentation. The sandwich, soda, and straws are presented without context—floating against a split background of deep red and blue. This abstraction heightens the sense that the meal is less about nourishment and more about iconography.

In this way, the print functions both as celebration and critique: it reflects the bold clarity and appeal of commercial graphics while also revealing the emptiness of mass consumption. As with much of Lichtenstein’s work, Sandwich and Soda questions the boundary between fine art and everyday imagery, making the mundane extraordinary through scale, style, and a touch of irony.