A Pop Art Rebel is Back. And She Just Walked the Runway.

Rosalyn Drexler was doing Pop Art before it was cool, or at least, before everyone else caught on. She took figures from movie posters and print ads, gave them a vibrant makeover, and slapped them onto canvases. The result? Art that still feels shockingly fresh six decades later. Think familiar faces, but with a punch of color and a whole lot of attitude.

Now, Drexler's work is having a serious moment, popping up in an art gallery and, of all places, on a fashion runway. Because apparently, that's where we are now: art history meets haute couture.

The Rebel's Revival

Her solo show, "My Life Has a Life of Its Own," just opened at one of Garth Greenan Gallery’s new downtown Manhattan spots, running until October 24. It’s a treasure trove of nearly 50 paintings and drawings from 1960 to 1969 — the sweet spot when Drexler was really leaning into commercial imagery. (She later pivoted to playwriting, because why stick to one thing?)

The exhibition title itself is a gem, pulled from Drexler’s notebooks where she mused on the phrase, "My Life Has a Life of Its Own." Which, if you think about it, is both impressive and slightly terrifying. Curator Fiona Laugharn wanted the show to feel like an intimate dive into Drexler's archive, with three sections mirroring three dense display cases packed with clippings and curiosities. One case even holds a copy of her 1972 novel, To Smithereens, which, no big deal, bounces between the New York art scene and women's wrestling. Because of course it does.

And those movie posters? Drexler’s cousin, who worked at a movie theater, kept her supplied with B-movie ads. She probably never even watched the films, but those dramatic figures — like the four men from FBI Code 98 or the mobster Dutch Schultz — became her muses. Dealer Garth Greenan calls her process "aggressive editing," which is a polite way of saying she took what she wanted and made it hers. She’d photocopy an image, glue it to canvas, and paint right over it, often focusing on intense emotions: anger, fear, love, violence. The good stuff.

Her studio, by the way, was smaller than her husband's. She often bought canvas boards in multipacks. A true artist making it work, proving you don't need a sprawling loft to make a statement. She'd just find an image that clicked with a headline in her mind, stick it down, and paint. Simple, effective, brilliant.

Fashion's New Muse

Seven blocks away, designer Rachel Comey unveiled her Spring 2027 collection, a 39-look homage to Drexler. The invitation even featured a snippet from Drexler’s 1972 play Softly and Consider the Nearness. Comey, known for her collaborations, was hooked after Garth Greenan director Lloyd Wise reached out. He saw the connection, hoping to introduce Drexler to a new audience. And what an audience.

What drew Comey in? Drexler’s New York Times obituary, which described her as an "artistic whirlwind who defied categories" — a painter, playwright, novelist, nightclub singer, and professional wrestler. Yes, you read that right. Drexler was, in Comey’s words, "brave and bold," presenting herself with strength and provocation.

Comey's collection doesn't just slap Drexler’s art onto fabric. It subtly weaves in her spirit. Think vibrant color palettes – bright green, orange, cobalt blue, lilac – with high-contrast combinations. One blue dress sported a large silver belt, a sly nod to a wrestling championship belt. Another dress featured a drawing of two boxers, a recurring motif in Drexler’s work. Models even carried copies of Drexler’s novels, because Comey believes her customers are "reading types." Let that sink in.

One dress even blew up an invitation to Drexler’s first New York solo show. That show, in 1960, featured sculptures. But after the gallery closed, only the male artists found new representation. Drexler, assuming it was because she was a sculptor (not, you know, a woman), started painting. A pragmatic pivot, if there ever was one.

And for the truly meta, a green floral dress directly translated a passage from Drexler’s painting Night Visitors. That painting, though not in the current Greenan show, has source material in one of those display cases: a photo of mobster Bugsy Siegel, shot dead on a floral couch. The painting's window also features those same four men from the FBI Code 98 poster. It all comes full circle.

Comey hopes Drexler would approve. She designs for women who live and work with freedom, much like Drexler did. After a decade of Garth Greenan trying to reignite interest in an artist whose success often varied, seeing her art interpreted in such a fresh, unexpected way proves the effort was worth it. Drexler, an interesting case study in art's possibilities in New York City, is finally getting her well-deserved spotlight. And maybe, just maybe, some new fans who appreciate a good wrestling belt. reference.