sentences:  Thomas E. Crow contrasts this work with Jasper Johns’s "anonymous stenciling", drawing attention to the way Hedrick mimics the flamboyant calligraphy found in the decoration of hot-rod cars.Crow sees the work in contrast to Johns’s reticence, as a protest aimed against the waste of lives in Korea, and at Cold War adventurism in general.Additionally, "Peace" (1953), "demonstrates an intuitive understanding of 'language as symbol' which predates the present postmodern use (of language) by twenty years.