During the 1970s, Tom Wesselmann continued to evolve and refine his artistic expression, further cementing his place in the art world as a pivotal figure of the Pop Art movement. This period marked a significant phase in his career, characterized by a deepened exploration of the themes and techniques that had previously defined his work. Wesselmann's artworks from the 1970s are notable for their large-scale, complex dimensional qualities, and for incorporating everyday objects into the canvas, reflecting his ongoing interest in still lifes and the female form. Works like Still Life #59 and Still Life #60 are examples of how he expanded the scale and complexity of his compositions during this decade. These pieces often feature enlarged elements that play with the viewer's sense of perspective, creating immersive and engaging visual experiences​ (The Estate of Tom Wesselmann)​. Another significant aspect of Wesselmann's work during the 1970s was the Smoker series, which continued from the previous decade. These works, such as Smoker #13 and Smoker #14, showcased his fascination with the motif of the smoking woman, exploring themes of sensuality, allure, and the interplay between the object and the subject. The series exemplifies Wesselmann's skill in isolating and magnifying moments of everyday life, imbuing them with a heightened sense of drama and intensity​ (The Estate of Tom Wesselmann)​. Wesselmann's Bedroom Paintings also evolved during the 1970s. These works, including Bedroom Painting #38 and Bedroom Painting #43, further illustrate his interest in the intimate spaces of personal life. By focusing on a few details of the figure—such as hands, feet, and breasts—and surrounding them with flowers and objects, these paintings shift the focus and scale of the objects around the nude. The series highlights Wesselmann's ability to create a dynamic interplay between the figure and its environment, making the surrounding objects major, even dominant elements within the composition​ (Wikipedia)​​ (The Estate of Tom Wesselmann)​. The 1970s also saw Wesselmann experimenting with new materials and techniques, as evidenced by works like Big Maquette for Belt Still Life. This period of his career is characterized by a fearless approach to experimentation, from his exploration of shaped canvases to his innovative use of color and form​ (The Estate of Tom Wesselmann)​. Throughout the decade, Wesselmann remained deeply engaged with the core themes of his work, continuously exploring the boundaries between object and representation, and between commercial culture and fine art. Despite his critical stance on being labeled solely as a Pop artist, his work from the 1970s embodies the vibrancy, innovation, and critical engagement that were hallmarks of Pop Art, demonstrating his profound influence on the movement and on contemporary art more broadly​ (Wikipedia)​​ (The Estate of Tom Wesselmann)​.