In the 1970s, Claes Oldenburg's art took on new dimensions with his exploration of large-scale public sculptures, continuing to transform the mundane into the monumental with a playful and innovative spirit. This decade was marked by significant works that not only challenged the conventions of public art but also engaged communities in new ways, reflecting the artist's ongoing fascination with everyday objects and their potential to inspire wonder and conversation when recontextualized within the public sphere. One of Oldenburg's pioneering works of this era was "Lipstick (Ascending) on Caterpillar Tracks" (1969, reworked in 1974), a bold statement against the Vietnam War and a reflection on the intersection of militarism and consumerism. Situated in New Haven, Connecticut, this work featured a giant lipstick tube mounted on a tank, symbolizing a feminine challenge to the aggressive nature of war machinery. The piece was initially installed at Yale University, engaging directly with the anti-war protests of the time. Its placement and form made it a platform for speech and a symbol of protest, encapsulating the era's tumultuous spirit and the artist's knack for merging art with social commentary​ (Artsy)​. The "Clothespin" (1976) in Philadelphia represented another significant stride in Oldenburg's exploration of public art. This 45-foot-tall sculpture was notable not only for its monumental scale but also for its integration within the urban landscape, standing as a testament to the artist's first "architectural-scale sculpture." This work, funded through a progressive city initiative that integrated art into public redevelopment projects, showcased Oldenburg's talent in creating art that interacts with its environment, inviting viewers to see the extraordinary in the ordinary​ (Artsy)​. In Chicago, Oldenburg's "Batcolumn" (1977) further exemplified his collaborative efforts with Coosje van Bruggen, marking the beginning of a fruitful partnership that would span decades. This work, a towering sculpture of a baseball bat, highlighted not only Oldenburg's whimsical approach to scale and form but also the importance of color and context in his installations. The choice to make the sculpture white instead of red, as initially planned, was a deliberate decision to align it more closely with Chicago's architectural and cultural milieu​ (Artsy)​. Another remarkable work from this period is "Giant Pool Balls" (1977), located in Münster, Germany. This installation, comprising three large concrete spheres, was a playful intervention in a public park, transforming the space into a surreal landscape reminiscent of a giant billiard table. The work was part of the first Skulptur Projekte Münster, an event that highlighted contemporary art in public spaces. Oldenburg's installation played with the concepts of scale and interaction, inviting viewers to reconsider the relationship between art, environment, and community. The spheres' placement appeared random, as if struck by an enormous cue, yet was carefully calculated to suggest movement and dynamism, reflecting Oldenburg's masterful manipulation of form and space​ (Kunsthalle Münster)​. The 1970s were a pivotal decade for Oldenburg, one in which his art became increasingly entwined with the public domain, offering both commentary and spectacle. His works from this period not only enriched the landscapes in which they were situated but also left an indelible mark on the trajectory of public art, underscoring the potential of sculpture to engage, provoke, and delight on a grand scale.