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portion of the American people's interest lies.  The same type of play on words is evident in Humanscape 58.  The "American Beauty" is not only a rose but also a voluptuous, idealized female.  Casas does this same sort of thing in Humanscape 59 (not shown) with the word "baby": In it is a real infant as well as a grown female "baby."

In Humanscape 51, "Auto-Erotic '69," a similar type of pun (with sexual overtones) is employed to put emphasis upon the erotic aspect of advertising.  Casas is concentrating on what mainly comes across in advertising (as well as in the cinema and on the television)--that is, things of an erotic nature.  Casas is doing a "take-off" on "the old automobile commercials, which show a grey-headed man and a grey-headed woman in separate series, with a young person in each looking hungrily at the man or woman, whichever might be the case."7 Like the automobile (in advertising), so are "toothpaste, perfume, and other countless items...similarly treated in erotic terms."8

Interest in the advertising aspect of modern media as reflected in paintings such as "Auto-Erotic '69" is also apparent in the work of other pop artists.  The paintings of James Rosenquist and Tom Wesselman often reflect "the salacious undercurrent in American advertising."9 However, often Casas' focus (especially in his later paintings of the Humanscape series) switches to other negative aspects in the