had his work selected for the cover of Penguin Books' edition of The Outsider by Albert Camus. Social media Micallef embraces social media and its ability to showcase his artwork to the masses, but he is also highly critical of the highly curated version of life portrayed on most social platforms. Controversy London Underground had commissioned Micallef for a piece of artwork to depict one of the stations of the cross however in the last minute became subject to censorship for the use of the tagline 'kill your idol' found in the artwork. "To my dismay I found out at the last minute the London Underground have decided to pull the piece from the show apparently because of the title ‘Kill your idol’ in the middle of the panel in the painting." Micallef's most recent controversial piece is the political satire of Donald Trump using cigarette packets as his canvas, rendering the at that time Republican nominee on the front of a cigarette packet bearing the now familiar "Smoking kills" tagline. Micallef intends to highlight the threat that Trump poses to society. As he explains, "I thought a warning sign of the imminent danger of a narcissistic sociopath fitted aptly into the concept." having been displayed as part of the group show the controversial 'Why I Want To Fuck Donald Trump' exhibition at New York's Joshua Liner Gallery in 2016. Micallef's Trump pieces were used for both the protest marches In L.A and In Washington D.C for the Women's March after the inauguration of the 45th President. The image had also been used for a Placebo concert in Mexico in 2017, again in protest at the new president. Also, a fake news story image of the 43rd President George Bush painting the image had gone viral and used in the publication of The Big Issue. Critical reception Paul Moorhouse the head of collection displays (Victorian to contemporary) and senior curator 20th-century collections at the national portrait gallery essay 'The Brutality of Appearance: Antony Micallef’s Self-Portraits', explores the physicality, the fleshliness and violence of Micallef's work, "While maintaining an illusionistic intimation of space and background, his portraits present a figure as if it has been subjected to an intense trauma" all the while contextulising him within the canon of art history and the painted portrait. In 2011 a piece by Andrew Perry for Telegraph said "Antony Micallef’s riotous paintings are a