his poster channels one of the most influential visual identities in design history—the 1968 Mexico City Olympics. The typography immediately signals that lineage: those radiating, parallel lines and hypnotic geometry are drawn directly from the system developed by Lance Wyman, working under architect Pedro Ramírez Vázquez. Their work fused modern Op Art with indigenous Mexican influences, particularly Huichol patterns, creating a look that felt both ancient and radically contemporary.

But this piece goes beyond design—it captures a moment of protest embedded within the Games themselves. The raised fists belong to Tommie Smith and John Carlos, whose Black Power salute on the medal podium became one of the most enduring political statements in sports history.

The vertical bars cutting through the composition carry that tension. They read as graphic rhythm at first—echoing Wyman’s line-based system—but quickly shift into symbolism: restriction, division, consequence. When Smith and Carlos returned to the United States, they faced backlash, suspension, and isolation. These bars become a visual metaphor for that reception—an overlay of consequence imposed on an act of conviction.

What makes this poster effective is that duality. It celebrates one of the most celebrated branding systems ever created, while simultaneously acknowledging the unrest and courage that defined the same moment in history. Order and protest. Design and dissent. All held within the same visual language.

This is a flat print only. Images are for illustration purposes only. This design can also be printed on additional materials like canvas, metal, wood, as well as different sizes. Please contact us directly for more options.