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both television and the movies as mere conveyors of erotic fantasies."4 Therefore, the emphasis upon sex is not only to shock the viewer (or voyeur) into realization but also to point out the sordid preoccupations of the American public.

In his early works, Casas depends solely upon visual symbolism. He employs color and the other components of painting as tools to convey his ideas. However, later Casas becomes interested not only in visual symbolism but also literal symbolism. He begins to use words and puns to help him transmit his ideas. Stenciled words first appear in Humanscapes 39 (December, 1967) and 40 (January, 1968). After these two paintings, puns become an indispensable part of Casas' work. 

Casas uses stencil lettering to add to "the unreal, machine-produced imagery."5 In his lettering, therefore, the emphasis is upon the mass-production aspect of modern societies.  The individual is no long an individual.  "Electric technology [has] created the mass."6 Each action which the individual might take must first be weighed carefully as to its effect upon the mass.

The same type of pun is evident in Humanscapes 39, 40, and 58.  In Humanscape 39, the "Ladies" are a commodity much like meat and are given a grade such as "USDA Choice."  In Humanscape 40, the "game" is sex.  "Game" implies a favorite pastime and is meant to point out where a large