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Moscoso’s art for the influential Zap Comix, for which he was invited to collaborate in 1968 by R. Crumb, reveals a meticulous draftsman in the crosshatching and stippling that went into his often hundreds of drawings in preparation for a comic. Like much of Zap Comix, known for its band of joyfully scandalous artists like Robert Williams and S. Clay Wilson, Moscoso’s work had an underground subversion, taking relics of pop culture such as old-school Mickey Mouse and Little Nemo and morphing them through a strange world of the upside-down logic that fueled M.C. Escher and Dalí. His work for Zap is a flow of transformations, with no dialogue or punchlines — one where the Camel cigarette dromedary disappears into clouds and Mr. Peanut wafts into floating shapes from his top hat and briefly becomes a woman.
Hathaway writes in the accompanying 96-page catalogue: „Zap became a sensation, not only when it was busted and tried for obscenity in 1969, but by serving as an inspirational example of the other paths that were available for those who had no desire to work for traditional publishers or galleries. Moscoso’s work — unlike that of his Zap brethren — wasn’t pessimistic; it was imbued with a sense of wonder and an eager willingness to follow any visual wandering that he could envisage which awarded it with the ability to appeal to a much wider audience.“
Edlin Gallery: Victor Moscosos psychedelic Drawings, 1967-1982