If you were to classify Pop artists using old categories, James Rosenquist would be a history painter, the creator of paradelike canvases sometimes large enough to turn corners and epic enough to embody the visual politics of their era. Erró, the Icelandic painter who has been friends with Mr. Rosenquist since the two met in New York in the early 1960s, would instead be a late-medieval religious allegorist. His works, based on collages of found pictures, are as packed with discrete images — of food, cars, celebrities, weapons, toys — as the paintings of Hieronymus Bosch are dense with damned souls. They convey a “nightmarish quality,” as the critic Arthur C. Danto once described it, the sense of drowning in a late-capitalist tsunami of stuff....

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