Pop Art wasn't just about Jasper Johns target paintings and Andy Warhol soup cans. Design - by people like Charles and Ray Eames, Alexander Girard, Achille Castiglioni and Ettore Sottsass - played an equally important role in the influential art movement of the 1960s. So argues "Pop Art Design," an exhibition that runs through Feb. 3, 2013, at the Vitra Design Museum in Weil am Rhein, Germany. Curated by Mathias Schwartz-Clauss, the exhibition, which includes 140 artworks and design objects (many of the latter from the museum's collections), examines the exchange of images and ideas between the two disciplines and the influence of pop culture on everyday life. A good portion of the artwork was lent by the Louisiana Museum of Modern Art near Copenhagen and the Moderna Museet in Stockholm. Both artists and designers mined mundane objects for their work - think of Claes Oldenburg's "Soft Saw" or Castiglioni's cantilevered tractor-seat stool - and created fantastic interiors, both real and imagined, from Girard's folk-art-influenced La Fonda del Sol restaurant in New York to Gunter Sachs's apartment in St. Moritz, Switzerland, a psychedelic Pop dream, complete with a flock of Lalanne sheep, a Lichtenstein bathtub enclosure and a wall of Warhol silk-screens of Marilyn Monroe. One of the more endearing works in the show involves one icon depicting another: Saul Steinberg's "Eames Chair" of 1950, an ink drawing of an artist painting a scene of the pyramids on an Eames molded plywood chair. A small but fascinating section of the exhibition, "Living With Pop" (which is included in the impressive catalog that accompanies the show), is devoted to photographs of interiors of the era. Particularly interesting are Ken Heyman's images from the 1960s of collectors in their homes, like that of Robert and Ethel Scull and their children; the otherwise staid family scene, with plastic slipcovers on the French-style chairs, and a maid serving food on a silver tray, is dominated by a decidedly unstaid, very large painting by James Rosenquist. Similarly, Heyman's photograph of Leon Manuchin in his living room makes the conservatively furnished interior seem so commonplace that the plaster nude by George Segal, seated in a wicker chair to Manuchin's right, makes you do a double take. These were people who wouldn't look out of place at a country club, living with art that - at the time, anyway - scared the horses. A parallel exhibition at the museum, "Erwin Wurm - Home," examines the Austrian artist's use of pop culture in films, a sculpture and a new wall work, including two examples of his "Melting Houses" series.