“Making the
Invisible Visible”
"Heart & Mirror Supergraphic," 1965–ongoing, acrylic paint and mirror, 40 × 30 inches
"Land(e)scape Supergraphic," 2018, Berkeley Art Museum and Pacific Film Archive
"Blue Wave Supergraphic," 1965–ongoing, FOG Desgin + Art, Anthony Meier, 2026
"Supergraphics," 1965, Moonraker Recreational Center, The Sea Ranch
"Bullseye Supergraphic," 1965–ongoing, Anthony Meier Library, Mill Valley, CA
"Supergraphic," 1967, Banco do Brasil, New York
"Strips of Stripes Supergraphic," 2023, San Francisco Museum of Modern Art
"Supergraphics," 2012, Marin Country Mart, Mill Valley, CA
"Supergraphics," 1965, Moonraker Recreational Center, The Sea Ranch
"Supergraphics," 1965, Moonraker Recreational Center, The Sea Ranch
"Supergraphics," 1965, The Sea Ranch Lodge, The Sea Ranch
The Sea Ranch Logo and Supergraphic, 1965
"EXIT Supergraphic," 1965, The Sea Ranch
Cal Expo Water Tower, 1967
Installation view of Supergraphics and sculptures, "EXITS EXIST" at the Graham Foundation, Chicago, February 25, 2022 - February 25, 2023
"Supergraphics," 1965, Moonraker Recreational Center, The Sea Ranch
"Supergraphic," 2019, "Breaking all the Rules," Palm Springs Art Museum
Supergraphic installed at the Whitney Museum in "High Styles: Twentieth-Century American Design," 1985, acrylic paint, dimensions variable with installation
"Supergraphic," 1969, HEARHEAR Record Store, Ghriadelli Square, San Francisco,
Supergraphics for a basement pool at a private residence, CA, 1967. Walls with yellow porcelain enamel diagonal stripes, poolside furniture in black and white porcelain enamel, lighting and 3D lighting fixtures, including mirrors and neon
Turia Gardens, 1968, In collaboration with Ricardo Bofill, Valencia, Spain
"Supergraphics," 1965, Moonraker Recreational Center, The Sea Ranch
The Sea Ranch Logo and Supergraphic, 1965
"Supersigns: SO, ASS, CHEVRON, STRIPES, OK, ?, HEART," porcelain enamel on steel, 55 x 55 inches, each
"Supersigns: ASS," porcelain enamel on steel, 55 x 55 inches, each
"Supergraphic," 1967, Kaiser Channel 44 (KBHK / KBHT) TV Studio, San Francisco
"WELCOME," 2022, St. Moritz, Switzerland. Produced by St. Moritz Tourism and the Serpentine Gallery
"Promenade Ribbon," 1991-2000, Commissioned by the San Francisco Art Commission for the Waterfront Transportation Projects, Artists: Vito Acconci, Stanley Saitowitz, and Barbara Stauffacher Solomon
"Promenade Ribbon," 1991-2000, Commissioned by the San Francisco Art Commission for the Waterfront Transportation Projects, Artists: Vito Acconci, Stanley Saitowitz, and Barbara Stauffacher Solomon
N.Y.C.'s Hunter College Sunway Signage, 1984. Commissioned by architect Ulrich Franzen. Located at the southeast corner of 68th Street and Lexington Avenue.
Supergraphic on the exterior of von Bartha, Basel, Switzerland
Supergraphics for Boas Pontiac, San Francisco, CA, 1966
San Francisco municipal signage, c. late 1960s–early 1970s. Barbara Stauffacher Solomon brought the discipline of Swiss Modernism into the fabric of the city—using typography, geometry, and clarity to transform everyday wayfinding into an integrated urban language.
San Francisco municipal signage, c. late 1960s–early 1970s. Solomon treated street names, traffic signals, regulatory signs, and their supporting structures not as unrelated pieces of infrastructure, but as parts of a coherent visual system.
San Francisco municipal signage, c. late 1960s–early 1970s. Decades later, elements of this design language remain embedded throughout San Francisco—maintained, adapted, and encountered daily, largely without attribution: work so integrated into the city that it has become nearly invisible.