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| Ron Kroutel Twenty-Seven Part Profile ca. 1967 acrylic on canvas Huntington Museum of Art, Huntington, West Virginia |
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| Serge Lemoyne Composition IV 1962 acrylic on panel Musée National des Beaux-Arts du Québec |
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| Roy Lichtenstein 4th New York Film Festival 1966 screenprint (poster) Hirshhorn Museum, Washington DC |
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| Kenneth Lochhead Ascending Color 1964 acrylic on canvas Beaverbrook Ary Gallery, Fredericton, New Brunswick |
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| Kenneth Lochhead Soft White Repose 1966 acrylic on canvas Ottawa Art Gallery, Ontario |
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| Helen Lundeberg Arcanum #2 1968 acrylic on canvas Hirshhorn Museum, Washington DC |
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| Helen Lundeberg Blue Sky 1966 acrylic on canvas Hirshhorn Museum, Washington DC |
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| Helen Lundeberg Looking Through 1964 oil on canvas Hirshhorn Museum, Washington DC |
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| Knox Martin Mulberry Field 1964 oil paint and enamel on canvas Whitney Museum of American Art, New York |
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| Alice Trumbull Mason Paradox #5 1969 oil on canvas Whitney Museum of American Art, New York |
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| Richard McLean Still Life with Black Jockey 1969 oil on canvas Whitney Museum of American Art, New York |
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| Tomoko Miho Partnership for Change - New York Model Cities 1968 offset-lithograph (poster) Cooper Hewitt, Smithsonian Design Museum |
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| André Minaux Atelier Mourlot - New York ca. 1967 lithograph (poster) Cooper Hewitt, Smithsonian Design Museum |
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| Claes Oldenburg 7 Up 1961 painted plaster Hirshhorn Museum, Washington DC |
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| Claes Oldenburg Soft Scissors 1968 lithograph Hirshhorn Museum, Washington DC |
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| Gordon Onslow-Ford Who Lives 1962 acrylic on canvas Whitney Museum of American Art, New York |
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| Toshinobu Onosato Painting A 1961-62 oil on canvas Guggenheim Museum, New York |
ODE – A name used in English with great laxity, and not perhaps to be tied down too much without loss. The word itself, in Greek, means simply a song. But the choric odes of the Greek dramatists, and the non-dramatic odes of Pindar, being couched in a peculiar form – irregular at first sight, but exactly correspondent when examined – have created a certain tendency to restrict the term ode, sometimes with the epithet "regular," to things similar in English (see, in list of poets, Cowley, Congreve, Gray). On the other hand, the Latins – especially Horace, whose influence has been even wider – extend the term to pieces in short, obviously regular stanzas identically repeated, and the majority of English odes are of this kind.
– George Saintsbury, from Historical Manual of English Prosody (1910)