British Pop Art was seen as an integral, even central, part of social change in the Sixties. It was a movement that developed innovative ways of dealing with reality, both reflecting on and participating in the culture. Its aesthetics was often homogeneous with the industrial, with the mass-produced, and, hence, with the artificial, manufactured character of the urban environment. This discontinuity in the traditional approach towards artistic creation furthered the globalization of diversity, which constitutes the abiding concern of postmodern art. Drawing from postmodern thought and cultural analysis, this book critically examines British Pop Art within the broad interdisciplinary domain of social and cultural changes that led to flexibility in conceptualization, and, as such, provides a contribution to the artistic processes which form and deform the cultural sphere, confirming its relevance to current debates in which questions of postmodern aesthetics prominently figure.