It begs obvious comparison to Mad Men; it's almost hard to believe it's a product of 1964 instead of another contemporary, guiltily nostalgic reflection on white-collar conformity.
Which would seem to have it exactly backwards: Mad Men is doing a Pop Art commentary on itself every time the camera starts behind Jon Hamm's head, and it would seem the real anachronism is thinking that artists aren't capable of critiquing their own age. Weber also had these cubes with the silhouettes on them which were kind of gorgeous, and one of them even had a figure in a slumped, viewed from behind pose. Now if one of those showed up on Draper's desk, it would be a meta-joke, but it could it also be a parting gift from Cooper, who has plenty of time now to build his collection beyond the Rothko from season 2.
In light of her success, Weber moved to New York to work and to secure a gallery affiliation. Sam Hunter, then curator at MoMA, arranged for her to meet art historian H.W. Janson, who admired Weber's work but stated that he did not include women painters in his books. Charles Allen, owner of the Allen Gallery, similarly indicated that he did not show women artists. Weber attended an illustration and design class taught by Alexander Liberman at the School of Visual Arts, but when she asked Robert Motherwell if she could audit his class at Hunter College, he responded that married women with children were not permitted to audit classes because they would not continue painting. Weber had married earlier that year. In 1958 her son was born, followed by a daughter in 1964, yet she continued painting.