Mechanical Reproduction
Related Artworks from the Whitney's Collection

Explore a selection of artworks from the Whitney’s collection that relate to Andy Warhol—From A to B and Back Again including examples of Abstract Expressionism, Minimalism and Pop art, some donated from Andy Warhol’s collection.

  • A pattern of tightly packed, orange and black rectangular shapes creating a textured, wavy surface.
    A pattern of tightly packed, orange and black rectangular shapes creating a textured, wavy surface.

    Yayoi Kusama, Air Mail Stickers, 1962. Collaged paper on canvas, overall: 71 7/8 × 67 7/8 in. (182.6 × 172.4 cm). Whitney Museum of American Art, New York; gift of Mr. Hanford Yang 64.34. © Yayoi Kusama

  • A vibrant painting split into two color blocks, with the top half featuring a detailed red vintage GMC truck and the bottom half a yellow abstract representation of the truck's reflection.
    A vibrant painting split into two color blocks, with the top half featuring a detailed red vintage GMC truck and the bottom half a yellow abstract representation of the truck's reflection.

    James Rosenquist, Broome Street Trucks After Herman Melville, 1963. Oil on linen, overall: 72 1/8 × 72 1/8 × 3 3/8 in. (183.2 × 183.2 × 8.6 cm). Whitney Museum of American Art, New York; purchase 64.20. © Estate of James Rosenquist / Licensed by VAGA at Artists Rights Society (ARS), New York

  • Pop art collage with a cigarette pack, sandwich, and a glass of milk against a backdrop of the American flag.
    Pop art collage with a cigarette pack, sandwich, and a glass of milk against a backdrop of the American flag.

    Tom Wesselmann, Still Life Number 36, 1964. Found paper, oil, and acrylic on linen, four parts, overall: 120 × 192 1/4 in. (304.8 × 488.3 cm). Whitney Museum of American Art, New York; gift of the artist 69.151a-d. © The Estate of Tom Wesselmann / Licensed by VAGA at Artists Rights Society (ARS), New York

  • A sculpture resembling a pile of oversized, realistic-looking French fries in a yellow color, with a large red ketchup-like form draped over them, all presented on a round white platter against a grey background.
    A sculpture resembling a pile of oversized, realistic-looking French fries in a yellow color, with a large red ketchup-like form draped over them, all presented on a round white platter against a grey background.

    Claes Oldenburg, French Fries and Ketchup, 1963. Vinyl and kapok on wood base, overall: 10 1/2 × 42 × 44 in. (26.7 × 106.7 × 111.8 cm). Whitney Museum of American Art, New York; 50th Anniversary Gift of Mr. and Mrs. Robert M. Meltzer 79.37a-g. © Claes Oldenburg

  • Abstract painting with bold black, white, red, and yellow brushstrokes on a blue dotted background.
    Abstract painting with bold black, white, red, and yellow brushstrokes on a blue dotted background.

    Roy Lichtenstein, Little Big Painting, 1965. Oil and acrylic on canvas, overall: 68 × 80 in. (172.7 × 203.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Friends of the Whitney Museum of American Art 66.2. © Estate of Roy Lichtenstein, all rights reserved

  • Stylized painting of two figures with halo-like yellow circles, one adult in red and a child in blue, both faceless.
    Stylized painting of two figures with halo-like yellow circles, one adult in red and a child in blue, both faceless.

    Allan D'Arcangelo, Madonna and Child, 1963. Acrylic and gesso on canvas, overall: 68 1/2 × 60 1/8 in. (174 × 152.7 cm). Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 2013.2. © Estate of Allan D'Arcangelo / Licensed by VAGA at Artists Rights Society (ARS), New York

  • A graphic artwork divided into a grid of six squares with a bold red background on the right side. The top left square features a profile of a man in shades of blue and white, the middle left square shows another profile in red, white, and blue, and the bottom left square contains a stylized blue numeral 5 with a colorful pattern inside it, set against a red and white background. The squares are outlined in white, creating a striking contrast with the primary colors.
    A graphic artwork divided into a grid of six squares with a bold red background on the right side. The top left square features a profile of a man in shades of blue and white, the middle left square shows another profile in red, white, and blue, and the bottom left square contains a stylized blue numeral 5 with a colorful pattern inside it, set against a red and white background. The squares are outlined in white, creating a striking contrast with the primary colors.

    Rosalyn Drexler, Day at the Races, 1964. Oil, acrylic, and paper on canvas, overall: 78 1/8 × 78 1/8 in. (198.4 × 198.4 cm). Whitney Museum of American Art, New York; purchase, with funds from Mr. and Mrs. Robert M. Benjamin 65.72. © Rosalyn Drexler / Artists Rights Society (ARS), New York and Garth Greenan Gallery, New York

  • A vintage floor lamp with a modified lampshade that encases a yellow spherical object, possibly a ball, within a small, windowed compartment. The lamp stands on an ornate, square base with a distressed finish.
    A vintage floor lamp with a modified lampshade that encases a yellow spherical object, possibly a ball, within a small, windowed compartment. The lamp stands on an ornate, square base with a distressed finish.

    Edward Kienholz, 14 1/2 Inches of Cord, 1963. Painted metal, plastic, wood, and masking tape, overall: 40 13/16 × 16 13/16 × 13 1/4 in. (103.7 × 42.7 × 33.7 cm). Whitney Museum of American Art, New York; gift of Andy Warhol 75.53. © Nancy Reddin Kienholz

  • Colorful abstract sculpture made of bent and twisted metal sheets in orange, yellow, green, and gold.
    Colorful abstract sculpture made of bent and twisted metal sheets in orange, yellow, green, and gold.

    John Chamberlain, Jackpot, 1962. Painted steel, metal foil and paperboard, overall: 63 1/8 × 50 7/8 × 57 in. (160.3 × 129.2 × 144.8 cm). Whitney Museum of American Art, New York; gift of Andy Warhol 75.52a-c. ©John Chamberlain/Artists Rights Society (ARS), New York

  • Wooden sculpture with two wheels, numbers, and an arrow. The word "MATE" is painted at the bottom.
    Wooden sculpture with two wheels, numbers, and an arrow. The word "MATE" is painted at the bottom.

    Robert Indiana, Mate, 1960–1962. Oil on wood and steel-and-wood wheels, overall: 40 1/4 × 12 5/8 × 12 3/4 in. (102.2 × 32.1 × 32.4 cm). Whitney Museum of American Art, New York; gift of the Howard and Jean Lipman Foundation, Inc. 66.28. ©Morgan Art Foundation Ltd./Artists Rights Society (ARS), New York

  • A vintage "SPAM" container with bold thick text and a loaf of the product with slices surrounding it
    A vintage "SPAM" container with bold thick text and a loaf of the product with slices surrounding it

    Edward Ruscha, SPAM, 1961. Gelatin silver print, sheet: 14 × 9 15/16 in. (35.6 × 25.2 cm) Image: 13 1/2 × 10 7/16 in. (34.3 × 26.5 cm). Whitney Museum of American Art, New York; purchase, with funds from The Leonard and Evelyn Lauder Foundation, and Diane and Thomas Tuft 2004.564. © Ed Ruscha

  • Abstract painting with a large yellow center, surrounded by a red-orange border and a blue-gray band at the top.
    Abstract painting with a large yellow center, surrounded by a red-orange border and a blue-gray band at the top.

    Mark Rothko, Untitled (Blue, Yellow, Green on Red), 1954. Oil on canvas, overall: 77 3/4 × 65 1/2 in. (197.5 × 166.4 cm). Whitney Museum of American Art, New York; gift of The American Contemporary Art Foundation, Inc., Leonard A. Lauder, President 2002.261. © Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

  • A nearly black image with subtle variations in shades creating a dark abstract pattern.
    A nearly black image with subtle variations in shades creating a dark abstract pattern.

    Ad Reinhardt, Abstract Painting, 1960–1966. Oil on linen, overall: 60 × 60 1/8 in. (152.4 × 152.7 cm). Whitney Museum of American Art, New York; purchase, with funds from The Lauder Foundation, Leonard and Evelyn Lauder Fund 98.16.3. ©Estate of Ad Reinhardt/Artists Rights Society (ARS)

  • Black and white geometric pattern with intersecting lines on the left side of a blank page.
    Black and white geometric pattern with intersecting lines on the left side of a blank page.

    Frank Stella, Die Fahne Hoch!, 1967. Lithograph, sheet: 15 5/16 × 22 in. (38.9 × 55.9 cm) Image: 13 3/8 × 8 in. (34 × 20.3 cm). Whitney Museum of American Art, New York; gift of Jasper Johns 92.90.3. © Frank Stella/Artists Rights Society (ARS), New York

  • A minimalist teal-colored metal bench with vertical slats creating an optical illusion, placed on a grey floor against a white wall.
    A minimalist teal-colored metal bench with vertical slats creating an optical illusion, placed on a grey floor against a white wall.

    Donald Judd, Untitled, 1966. Painted aluminum, overall: 48 × 120 × 120 in. (121.9 × 304.8 × 304.8 cm). Whitney Museum of American Art, New York; gift of Howard and Jean Lipman 72.7a-j. © Judd Foundation / Artists Rights Society (ARS), New York

  • A metal coat rack with a single hook is mounted on a white wall. The rack has the words "GOLDEN MEMORIES" embossed on its surface and a knotted rope is tied to the right end.
    A metal coat rack with a single hook is mounted on a white wall. The rack has the words "GOLDEN MEMORIES" embossed on its surface and a knotted rope is tied to the right end.

    Robert Morris, Golden Memories, 1963. Painted wood, metal, and rope, overall: 5 7/8 × 28 5/16 × 5 3/4 in. (14.9 × 71.9 × 14.6 cm). Whitney Museum of American Art, New York; gift of Andy Warhol 74.114. ©Robert Morris/Artists Rights Society (ARS), New York

Browse the full collection.

On the Hour

A 30-second online art project:
Maya Man, A Realistic Day In My Life Living In New York City

Learn more about this project

Learn more at whitney.org/artport

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