of dispossessed Jews from the ghettos of Eastern Europe (at LA Museum of the Holocaust), created from firsthand observation. In the 1960s, Randall satirically explored what was for him the grotesque pageantry of US militarism, using a visual vocabulary of ghastly females, skulls and skeletons that drew upon the folk traditions of Mexican graphic art. As a contrast, he invoked the US's own iconic imagery of liberty and democracy, embodied in Abraham Lincoln, to whom Randall dedicated a series of oil paintings spanning two decades. Randall saw the human condition as a dynamic struggle for justice or at times simply the struggle for survival, captured in his lifelong scenes of boxers and wrestlers. Not only human but also planetary survival struggles caught his visual imagination. The threat of nuclear apocalypse prompted a series of huge oils, titled 'Doomsday', in the late 1950s and 1960s. The Crocker Museum, the Jundt Museum, and Smith College Art Museum hold oils from this series. Randall's late works of the 1980s and 1990s deploy a personal mythology of skulls, Mickey Mouse, Lucifer, and nude articulated dolls to ponder the chaotic horrors, and surrealism, of consumer culture. 'Flotsam and Jetsam', his print series of small lino and wood cuts and related large oils, is the summation of this political exploration. Randall's art revels in the joyful, sensuous and whimsical aspects of everyday life. It celebrates both male and female nudity, and the hedonistic satisfactions of leisure: surfing, drinking, dancing, lounging, making music. From early on, Randall's love of tools featured in his work, animating his popular 'Philo' oil series of West Coast barns, plows and shovels. Tools and vessels often make their way into his still lifes, as do nudes, who are often slyly incorporated into landscapes and still lifes. Randall saw in manual labor the affirmative potential of a non-industrialized life. This led him to unsentimental, international portraits, in paint and print, of working people, as hewers of coal and wood, house painters, diggers, laundry women, cooks, carpenters, farmhands, stevedores, sellers of bread, balloons, and chickens. The landscapes of rural Oregon, California, Hawaii, Canada, Mexico and Scotland stimulated Randall, as a watercolorist, to the use of intensely vivid colors and energetic brushstroke. Urban life also claimed his attention, from his early, gloomy cityscapes of New York, and on to 1950s scenes of Montreal and San Francisco. Organizing, public art, and peace activity Randall saw printmaking