Each panel of the triptych tells its own mini-narrative, progressing from organic shapes and natural imagery to mechanical constructs. Recognizable industrial motifs—cogs, engines, and a man holding a test tube—populate the artwork. These sections juxtapose the free forms of nature against the angular edges of industrialism. Using the same forms and colours as in Peace Through Chemistry I, Lichtenstein employs solid blocks of colour, bold contours, and vibrant Benday dots.
In Peace Through Chemistry II, Lichtenstein satirises the industrialism of his time and critiques the notion that peace could be achieved through technological and industrial advancements, as the title suggests.