* Rockwell's later, more political illustrations dealing with race relations. Especially ''Art/TheProblemWeAllLiveWith''.
* His ''Art/FourFreedoms'' series. ''Freedom of Speech'' is shown with a blue-collar worker unafraid to speak up at a town meeting of mainly white-collars, ''Freedom from Fear'' with parents comforting their children amidst an air raid, ''Freedom of Religion'' with people of several faiths praying together, and ''Freedom from Want'' with a lovely Thanksgiving dinner.
* ''[[http://www.saturdayeveningpost.com/wp-content/uploads/satevepost/saturday-evening-post-cover-1953_05_23.jpg Outside the Principal's Office]]'', a.k.a. ''The Shiner''. Yes, the girl has a black eye. Yes, she's in big trouble waiting in front of the principal's office. And yes, she is grinning from ear to ear knowing full well that whatever happened was ''totally {{worth it}}''.
* ''[[http://www.nrm.org/thinglink/text/Connoisseur.html The Connoisseur]]'' shows a man looking at an Abstract Modernist painting in the style of Jackson Pollock, as a TakeThatCritics jab against those who said Rockwell's pictures were not TrueArt like modernism. To make the Modernist painting, Rockwell repurposed his studio to be able to use Pollock's own methods exactly as Pollock did. The kicker? Rockwell then entered the Pollock-style portion of the canvas in an art exhibit in New York under a PenName, where ''it won first prize''.
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