Philip Taaffe's painting 'Signal' (1986) reflects his signature style of blending historical ornamentation and decorative elements with references to Op-art to create an illusionistic effect. In 'Signal', Taaffe uses red, green, yellow, and blue forms set against a black background, moving away from a monochrome base to produce rhythmic, abstract, and floral motifs layered with geometric shapes. Drawing inspiration from artists like Barnett Newman, Bridget Riley, and Hans Arp, Taaffe also incorporates visual elements influenced by his travels, referencing Roman mosaics, Islamic art, Byzantine altarpieces, and more. Signal can be seen as a reinterpretation of Paul Feeley’s 1968 work Untitled (April 15), merging historical and contemporary influences into a cohesive whole.

Since the early 1980s, Taaffe's artistic practice has continuously evolved, utilizing diverse processes and materials such as collage, linocut, woodblock, rubber stamping, silkscreen, marbling, and decalcomania, incorporating elements inspired by various cultures. By crossing cultural boundaries in his art, Taaffe critically engages with abstraction in a reflective manner. His works have been featured in numerous museum exhibitions, including the Carnegie International, the Sydney Biennial (twice), and the Whitney Biennial (three times). His works are now part of major public collections, such as the Museum of Modern Art in New York, the Philadelphia Museum of Art, the Whitney Museum of American Art, and the Reina Sofia in Madrid.