Throughout the 20th century, Alphonse Mucha’s Job Cigarette Poster (1896) remained a touchstone for artists across disciplines. His highly influential poster, with its trademark sinuous lines, densely patterned surface and suggestive gestures, unsurprisingly became an inspiration for mid-century graphic artists — specifically the psychedelic and comic art of the 1960s. Within the LSD and hippie drug culture, numerous artists revisited Mucha’s depiction and expanded on his sensuous representation. For this project, I look at the psychedelic comic and poster art of notables such as Victor Moscoso, Stanley Mouse, Wes Wilson, Martin Sharp, and Robert Crumb. I identify the degree to which Mucha’s work remains palpably present. For example, Mouse’s hauntingly visceral lines, Moscoso’s highly patterned surfaces, and Crumb's flippant poses reinterpret Mucha’s Job Cigarette Poster. Over the subsequent decades, Art Nouveau inspired psychedelic art has only intensified. Recently resurfaced in psychedelic realism, Alex Grey, Cameron Gray, and Tokio Aoyama use influences of psychedelic art to create works of spiritual actualization. In this paper, I look at a century in which a distinct style of representation shifts. From the marketing of cigarettes (no less), to the characterization of counterculture and drug paraphernalia, to the representation of sensuous and spiritual interpretation.