It is at this point that the wealth of irony inherent in the work comes to the fore. Each of the more than a dozen officers on each side is a recognizable portrait of famous artists, critics, and writers, including on the French side, the Surrealist Andre Breton and Pablo Picasso (dressed in fur), and on the American side such painters as Jackson Pollock and the highly influencial New York art critic, Clement Greenberg. In the background is a war-torn landscape dotted by the smouldering fires of recent artistic conflicts over which the New York School has unconditionally triumphed. The two or three French officers are mounted on anachronistic horses while the American "cavalry" is a modern armored half-track.
Asside from providing interesting intellectual delights for art historians, the painting's purpose is to shake up conventional ideas about history and truth. The soldiers of WW I surrendering to those WW II is as absurd the comparison of art and war. In addition, the documentary photographic realisim of such an impossible historic scene challenges our notions regarding the reliability of photography itself. Today, with many off-the-shelf computers coming bundled with scanners, printers, and photo-editing softwear, this element of the painting now seems academic. It serves to underline the gradual disappearance of the line between the painted image an the photographic image. With the photo, merely another tool of the artist, and artistic editing merely another tool of the photographer, all images are merely that--images.