Knowing irreverence is one of the many tools in Archie Boston's creative arsenal. Indeed, Boston's multifaceted career—encompassing design, advertising and design education—demonstrates the adaptability and ambition that that mailer exalted. He admits he likes to test boundaries when possible, and thinks that politically correct self-censorship is a chief enemy of the visual communicator. Like much of the memorable, industry-altering print advertising of the 1960s, when he entered the trade, Boston's work could deploy the combined payload of a single image with a declarative, ironic headline. But largely unlike the graphic agitation of the era, his identity politics could be as puckish and self-aware as they were confrontational.