Sex Review, for which Holland did some covers. Holland's drawings, in particular those about the Nixon administration's Watergate scandal, became the single largest body of work to be published in the first book of op-ed art: The Art of the Times, edited by Jean-Claude Suares and published in 1973 by Darien House. In the same year, Holland would accompany Suares when the art director arranged an exhibition of op-ed art from the Times at the Musée des Arts Décoratifs in Paris. By 1986, the artist was so firmly established as a prominent presence in the graphics community that The Washington Post said Holland was "the undisputed star of American Illustration". Writing for Print magazine, author Steven Heller wrote, "As Pollock redefined plastic art, Holland has radically changed the perception of illustration". Influences In Holland's ink drawings, which were most prominently featured on the op-ed page of The New York Times, the artist has credited German satirist Heinrich Kley and Austrian expressionist Alfred Kubin as having significantly informed his own black-and-white work. The artist also sites Mexican muralism of the 1920s as being of significant inspiration and in particular "Los Tres Grandes" (the three great ones): Rivera, Orozco and Siqueiros. The artist also credits the short story writings of Nathaniel Hawthorne as having influenced his sensibilities. Artistic philosophy While the use of visual metaphor is now taken for granted in the world of illustration, when Holland entered the field this was not the case. It was the accepted standard of the time (1968) that art directors dictated or implied what they wanted an illustrator to create as a finished assignment. When Holland entered the illustration field, his philosophy was entirely different from what his predecessors had accepted as common practice. He vowed to never render anyone else's idea but rather always find a better, more personal solution to any illustration assignment he might accept. There are several illustrators whose work brought about a fundamental and lasting change in this dictatorial method of art direction and Holland can be counted among the first. The New York Times art director Jean-Claude Suares can also take a great deal of credit in this fundamental curatorial change to the way that illustration was viewed from a top-down "do as you are told" profession to a more artist-driven form of artistic communication. In the New York Times obituary for Suares, Holland is quoted as saying he