was an American artist whose work sits at the intersection of Pop Art and Minimalism, marked by graphic precision and a keen sense of political commentary. Best known for his stark depictions of American highways and road signs, D’Arcangelo developed a visual language that reflected the cultural tensions and visual clutter of postwar America.

Born in Buffalo, New York, D’Arcangelo studied art at the University of Buffalo before traveling to Mexico City, where he was influenced by the scale and social impact of Mexican muralists. That influence—bold, flat color fields and a commitment to political expression—can be traced throughout his career.

Unlike many of his Pop Art peers, who leaned into consumerism and celebrity culture, D’Arcangelo’s work often interrogated power structures, conformity, and national identity. His compositions used familiar American imagery, such as roadways, signs, and silhouettes, to reflect a more ambiguous, sometimes alienating view of modern life. These works have been widely referenced in discussions of Postwar art, Pop Art, and Minimalist abstraction.

D’Arcangelo’s art is held in major public collections, including the Museum of Modern Art, the Whitney Museum, and the Smithsonian. His work played a subtle yet crucial role in shaping the visual critique of American society during the 1960s and beyond.

In 1967, he was invited by John Powers to participate in the inaugural Aspen Center for Contemporary Art residency, creating alongside artists like Claes Oldenburg and Roy Lichtenstein. His contributions include Side View Mirror and Landscape III (both 1965), now on view in In the Living Room with John and Kimiko at the Powers Art Center.