Peter Max, who died at 88, gave the 1960s counterculture its visual grammar — swirling forms and electric Day-Glo color that seemed to insist, simply by existing, that the world could be otherwise. Where many artists of his generation treated commerce as corruption, Max understood that a vision reproduced across millions of posters and products was a vision that had truly escaped the gallery wall. His life raises a question that outlasts him: whether art that saturates the marketplace loses something essential, or whether reach itself is a kind of gift.