Nuclear Suns (1963)
By subject, color, and tone, the drawings that came from the trunk separated so clearly into groups that it became evident Ripley was responding in each series to an emotional or technical problem he could resolve only by putting color to paper. In his show "The Bomb" he must have been dealing with fear through color. This was a strategy he returned to with greater success in his "Nuclear Suns," which followed the Cuban missile crisis of October 1962. –Douglas Crase, Both: A Portrait in Two Parts, 221.