Long before anyone had a screen to stare at, the 1960s were already warping reality by hand.
Bridget Riley's geometric illusions stopped crowds at MoMA in 1965. Within months the same hypnotic patterns were on miniskirts, wallpaper, and the walls of Swinging London flats. Op-Art didn't wait for the art world to catch up — it jumped straight into everyday life and refused to be ignored.
Loud. High-contrast. Dizzying in the best possible way.
It wasn't just a visual style. It was a full sensory statement from a generation that was done being quiet about everything — including their walls and their wardrobes.













