The complex role of Situationists in the Paris uprisings of 1968 is clearly illustrated in the sharp contrast between these two posters. The stark and austere one at right was designed by Debord and is notably devoid of images. Its focus is entirely on the text, Down with the Spectacular Society of Commodities, which resoundingly echoes Debord’s classic 1967 pièce de résistance, The Society of the Spectacle. It is also to be found on the Sorbonne Occupation Committee’s list of “slogans to be disseminated now by all means” (farther right). Drenched in passion and color, the poster at left was painted by none other than Jacqueline de Jong, the rebellious editor of The Situationist Times, who had decisively taken sides with Gruppe Spur in the schism over the role of art and left the Situationist International in protest in 1962 (see south case). The poster is in fact a détournement of the committee’s entire notion of prescribed slogans. A close look reveals that de Jong painted over most ...