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...... The 1960s would see the explosion of op art as a formal genre in modern art. In 1965, the first major op art show was presented at the Museum of Modern Art in New York. Curated by William C. Seitz, the exhibition featured works by such artists as Frank Stella, Alexander Liberman, Vasarely, and Bridget Riley. Theoreticians and artists focused on art that not only deceived the eye into believing that movement was occurring in a picture, but also on the interaction among colors in these works. The public was thrilled with this exhibition, and op art became massively popular. Critics were harsher on op art, however. They felt that it represented nothing more than trompe loeil, or tricks of the eye it was regarded as a gimmick, rather than a genuine artistic movement
The visual language of op art is built on an interrogation in to the way human visual perception functions. It is rooted in a complex figure-ground relationship. Op art works consist of two planes that interact in a way that is dense and somehow contradictory. There are two dominant methods within op art. The best known of these involves the elicitation of effects via

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