In the 1960s, Jasper Johns' art continued to evolve, reflecting deeper explorations into the themes of language, semiotics, and the interplay between object and representation. This period marked a significant extension of the conceptual foundations he laid in the 1950s, with an increased focus on the symbolic meaning of common objects and the use of text as an integral part of his artwork. One of Johns' notable works from this era is "False Start" (1959), where he intricately combines gestural patches of colors with stenciled words of those very colors, deliberately mismatching them to create a dissonance between the words and the visual experience. This piece highlights Johns' interest in the role of chance in the creative process, influenced by John Cage, and moves his exploration further into the territory of semiotics—the study of signs and their meanings (The Art Story). Johns also ventured into three-dimensional work with "Painted Bronze (Ale Cans)" (1960), blurring the lines between found objects and artistic recreation. This work, inspired by a snide remark from Willem de Kooning about the commercial viability of Johns' art, showcases Johns' ability to infuse humor and critique into his representations of everyday objects, prefiguring the Pop Art movement's interest in mass-produced goods (The Art Story). Another significant piece, "Periscope (Hart Crane)" (1962), combines motifs and symbols from his earlier paintings within a constrained palette, embedding personal and poetic references, particularly to the poet Hart Crane. This work reflects a period of emotional turmoil for Johns, signaling a departure from the more impersonal themes of his earlier flags and targets. The inclusion of his handprint and the use of text suggest a merging of personal experience with broader thematic concerns (The Art Story). "According to What" (1964) represents a culmination of Johns' experiments with combining various elements and techniques. This expansive work incorporates found objects, stenciled names, and silkscreened newspaper pages, creating a complex interplay of meanings and references. This piece, among others from the period, reflects Johns' ongoing dialogue with his mentor Marcel Duchamp and emphasizes the participatory role of the viewer in constructing meaning (The Art Story). Jasper Johns' work in the 1960s embodies a profound investigation into the nature of representation, the ambiguity of symbols, and the relationship between art and the viewer. His innovative use of materials, incorporation of text, and interrogation of familiar symbols cemented his place as a pivotal figure in the transition from Abstract Expressionism to the emerging movements of Pop, Minimal, and Conceptual Art (The Art Story) (Wikipedia) (The Metropolitan Museum of Art).