Andy Warhol—
From A to B and
Back Again
Nov 12, 2018–Mar 31, 2019
Introduction
Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing power of images in contemporary life and helped to expand the role of the artist in society. This exhibition—the first Warhol retrospective organized by a U.S. institution since 1989—reconsiders the work of one of the most inventive, influential, and important American artists. Building on a wealth of new materials, research and scholarship that has emerged since the artist’s untimely death in 1987, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century.
Explore the artworks below to learn more about the life and work of Andy Warhol.
1
Warhol Before Warhol

1
2
Hand-Painted Pop

2
3
Mechanical Reproduction

3
4
Silver Screens

4
5
Death and Disaster

5
6
Most Wanted Men

6
7
Flowers

7
8
Filmmaking

8
9
Installations

9
10
Performance and Experimentation

10
11
Mao

11
12
Time Capsules

12
13
Ladies and Gentlemen

13
14
Still Lifes and Shadows

14
15
Abstraction

15
16
Portraits

16
17
Andy Warhol Enterprises

17
18
Collaborations

18
19
The Last Supper

19

Audio Guides
“Andy's work really goes to the heart of the matter of what it means to be a human being and what our potential is…It's the real deal.” —Jeff Koons
Hear from a range of contemporary artists, curators, and scholars speaking about iconic works on view. Contributors include Jeff Koons, Hank Willis Thomas, Deborah Kass, Peter Halley, Sasha Wortzel, and Richard Meyer.
Playlist
In February 1966, Warhol announced that he was sponsoring a band: the Velvet Underground. After seeing them play one of their first shows, Warhol asked the Velvets—Lou Reed, John Cale, Sterling Morrison, and Maureen “Moe” Tucker—to provide musical accompaniment for a screening of his films. “We were doing what he was doing," Reed recalls, "except we were using music and he was doing it with lights.” Warhol later invited the band to rehearse at the Factory, providing them with new, louder amplifiers. He also recruited German chanteuse, Nico Päffgen, to serve as the band’s second lead vocalist. Warhol went on to produce and provide cover art for the band's first album, The Velvet Underground and Nico (1967), as well as to design the art for their second release, White Light/White Heat (1968). This playlist combines tracks from each of the Velvets' four albums, along with songs from solo releases by Cale, Reed and Nico through 1972.
Installation Photography

Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Brillo Boxes, 1969 (version of 1964 original); Big Electric Chair, 1967–68; Big Electric Chair, 1967. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1967–68; Flowers, 1964; Flowers, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964–65; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers [Large Flowers], 1964–65. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers, 1964; Flowers [Large Flowers], 1964–65. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Andy Warhol, Flowers, 1967–68 (installation view, Andy Warhol – From A to B and Back Again, Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Acrylic and silkscreen enamel on canvas. The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Peter M. Brant, 1979. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: 192 One Dollar Bills, 1962; Campbell’s Soup Cans, 1962. In center of gallery: Dance Diagram [3] [“The Lindy Tuck-In Turn—Man”], 1962; Dance Diagram [4] [“The Lindy Tuck-In Turn—Woman”], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; S&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Floor vitrines: Dance Diagram [3] [“The Lindy Tuck-In Turn—Man”], 1962; Dance Diagram [4] [“The Lindy Tuck-In Turn—Woman”], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Green Coca-Cola Bottles, 1962; S&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original). Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Two Heads, c. 1957; Portrait of John Butler with Dancer, 1952; 129 Die in Jet, 1962; Before and After [4], 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evans, c. 1956; Beatrice Lielie, c. 1956; Babe Paley, c. 1955; Diana Vreeland, c. 1956; Truman Capote, c. 1956; Elvis Presley, c. 1956; Mae West, c. 1956; Christine Jorgenson, 1956; B.[ernard] G.[rant], c. 1956. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Green Coca-Cola Bottles, 1962; S&H Green Stamps, 1962; Brillo Boxes, 1969 (version of 1964 original); Living Room, c. 1948; Upper Torso Boy Picking Nose, 1948–49; Constipated Women, 1940s; Female with Animal at Breast, 1948–49; Man with Lines Exuding from Mouth, 1948–49; Unidentified Male Portrait, 1950s; Unidentified Male Portrait, 1950s; Otto Fenn, c. 1952; Unidentified Male Portrait, c. 1952; Billy Loew, c. 1952; Otto Fenn, c. 1952. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Feet, 1950s; Male Genitals, 1950s; Foot with Dollar Bills, c. 1955–57; Feet with Candlesticks, c. 1955–57; Male Nude, c. 1957; Self-Portrait, 1950s; “Truman Capote,” c. 1952; “Truman’s Hand,” 1950s; Unidentified Male, 1950s; Unidentified Male, 1950s; C., 1950s; “Geoffrey Holder,” 1950s; Tom Royal, c. 1952; Untitled (Hand in Pocket), c. 1956; James Dean, 1955; Portrait of Kenneth Jay Lane with Butterflies, c. 1958. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Unidentified Male, 1950s; Unidentified Male, 1950s; C., 1950s; “Geoffrey Holder,” 1950s; Tom Royal, c. 1952; Untitled (Hand in Pocket), c. 1956; James Dean, 1955; Portrait of Kenneth Jay Lane with Butterflies, c. 1958; Photostat (New York Mirror—Vol. 37 no. 296, Monday June 4, 1962), 1962; Facsimile of Journal American, September 21, 1958; Mechanical (Coca-Cola, “Standard and King Sized”), c. 1960; Superman, 1961; Dick Tracy, c. 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Close Cover before Striking (Coca-Cola), 1962; Mister Moore, c. 1956; Kate Smith, c. 1956; Leo Lerman, c. 1956; David Evins, c. 1956; Beatrice Lielie, c. 1956; Babe P.[aley], c. 1955; Diana Vreeland, c. 1956; Truman Capote, c. 1956; Elvis Presley, c. 1956; Mae West, c. 1956; Christine Jorgenson, 1956; B.[ernard] G.[rant], c. 1956; Untitled (Pair of Legs in High Heels), c. 1955; Hand and Flowers, 1957; Tattooed Woman Holding Rose, c. 1955; Walter Ross, The Immortal (New York: Simon and Schuster, 1958); Maude Hutchins, Love Is a Pie (New York: New Directions, 1952); Communist Speaker, 1950s; Madame Rubinstein, 1957; One Million Dollar Bill, 1950s; Sketch: “Miss Dior,” 1950s; Hand and Flowers, 1957; Virginia Roehl, facsimile of Andy Warhol’s Miss Dior window display for Bonwit Teller, 1955; Business card (Andy Warhol, 242 Lexington Ave.), 1959; In the Bottom of My Garden, 1956; Digital facsimile; Andy Warhol and Ralph Thomas Ward (Corkie), selections from A Is an Alphabet, 1953; Hand Holding Leafy Branch, 1957; CBS Broadcast Series: The Nation’s Nightmare, 1952; Facsimile of “Living Off the Main Line” advertisement, New York Times, September 13, 1951; Perfume Bottle, 1953; “a sewing machine,” c. 1952; Facsimile of “What Is Success?” Glamour, September 1949, pp. 146, 148-54; Two Shoes with Registration Marks, 1957; Award for Distinctive Merit from the Art Directors Club of New York 35th Annual Exhibition of Advertising and Editorial Art, 1956; Julia Warhola, Cat with a Hat with "Purr” Inscriptions, c. 1953; A Gold Book, 1957; Three More Novels of Ronald Firbank: Caprice, Vainglory, Inclinations (Norfolk, CT: New Directions, 1951); Amy Vanderbilt’s Complete Cookbook (Garden City, NY: Doubleday, 1961); The Nation’s Nightmare, 1951; Contact sheet (Unidentified man with hypodermic needle), 1951; Facsimile of “The Friendly Sport of Giving Gifts,” Glamour, December 1953, pp. 72-73; Shoe, 1950s. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: “Pirates Sieze Ship…”, 1961; “News,” 1961; “Liner Hijacked,” 1961; 129 Die in Jet, 1962; Before and After [4], 1962; Close Cover Before Striking (Coca-Cola), 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Close Cover before Striking (Coca-Cola), 1962; Coca-Cola [3], 1962; Coca-Cola [2], 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: The Princton Leader, c. 1956; Journal American, c. 1959; Superman, 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Gold Marilyn, 1962; Silver Liz (diptych), 1963; Edward Wallowitch, Still Life (Campbell’s Cream of Chicken Soup and Coca-Cola Bottle), c. 1962; Edward Wallowitch, Standing roll of dollar bills tied with rubber band, c. 1962; Invoice (from Edward Wallowitch to Andy Warhol, April 13, 1959), 1959; Edward Wallowitch, Andy Warhol, 1957–58; Edward Wallowitch, Andy Warhol, 1957; Close Cover before Striking (Coca-Cola), 1962; Coca-Cola [3], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Roll of Bills, 1962; Campbell’s Soup Can with Ketchup Bottle, 1962; Campbell’s Soup Can over Coke Bottle, 1962; The Princton Leader, c. 1956; Journal American, c. 1959. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: “Pirates Sieze Ship…,” 1961; “News,” 1961; “Liner Hijacked,” 1961; Wigs, 1961; Where Is Your Rupture? [1], 1961. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Wigs, 1961; Where Is Your Rupture? [1], 1961; Before and After [4], 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Silver Marlon, 1963; Triple Elvis [Ferus Type], 1963; Single Elvis [Ferus Type], 1963; Large Sleep, 1965; Marilyn Diptych, 1962. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; The American Man (Portrait of Watson Powell), 1964; Large Sleep, 1965; Thirty Are Better Than One, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Gold Marilyn, 1962; Silver Liz (diptych), 1963; Large Sleep, 1965; Silver Marlon, 1963; Triple Elvis [Ferus Type], 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; The American Man (Portrait of Watson Powell), 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Marilyn Diptych, 1962; Tunafish Disaster, 1963; Ethel Scull 36 Times, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Triple Elvis [Ferus Type], 1963; Single Elvis [Ferus Type], 1963; Exhibition announcement (Andy Warhol—The Personality of the Artist/Stable Gallery, April 21-May 9, 1964), 1964; Facsimile of Source Material (Most Wanted Men #9 and #10), 1962; Eric Pollitzer, facsimile of Installation view of Andy Warhol’s Most Wanted Men at the New York World’s Fair, 1964–65; Photographer unknown, facsimile of Installation view of Andy Warhol’s Most Wanted Men at the New York World’s Fair, 1964–65; Most Wanted Men No. 4, Redmond C., 1964; Most Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John M., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Most Wanted Men No. 7, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin M., 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Self-Portrait, 1963–64; Self-Portrait, 1964; Self-Portrait, 1964; Most Wanted Men No. 4, Redmond C., 1964; Most Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John M., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Most Wanted Men No. 7, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin M., 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: The American Man (Portrait of Watson Powell), 1964; Thirty Are Better Than One, 1963; Self-Portrait, 1963–64; Self-Portrait, 1964; Self-Portrait, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Orange Car Crash Fourteen Times, 1963; Crowd, 1963; Nine Jackies, 1964; Saturday Disaster, 1964. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Orange Car Crash Fourteen Times, 1963; Nine Jackies, 1964; Saturday Disaster, 1964; Lavender Disaster, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Saturday Disaster, 1964; Lavender Disaster, 1963; Mustard Race Riot, 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mustard Race Riot, 1963; Most Wanted Men No. 3, Ellis Ruiz B., 1964; Most Wanted Men No. 1, John M., 1964; Most Wanted Men No. 6, Thomas Francis C., 1964; Most Wanted Men No. 7, Salvatore V., 1964; Most Wanted Men No. 12, Frank B., 1964; Most Wanted Men No. 5, Arthur Alvin M., 1964; Tunafish Disaster, 1963; Suicide (Fallen Body), 1963. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Selections from Flash—November 22, 1963, 1968; Water, 1971; Self-Portrait, 1966; Big Electric Chair, 1967–68; Big Electric Chair, 1967. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Saturday Disaster, 1964; Lavender Disaster, 1963; Selections from Flash—November 22, 1963, 1968; Water, 1971. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Factory Diary: Andy Paints Mao, 1972; Vote McGovern, 1972; Mao (Edition 4/300), 1973; Mao (Edition 27/300), 1973; Mao (Edition 32/300), 1973; Mao (Edition 39/300), 1973; Mao (Edition 103/300), 1973; Mao (Edition 204/300), 1973; Mao (Edition 242/300), 1973; Mao (Edition 261/300), 1973; Mao, 1973; Factory Diary: Andy Warhol, Geri Miller, Candy Darling at the Factory, c. 1971–72; Michael Kostiuk, Andy Warhol vacuuming the carpet for an installation piece at Finch College Museum of Art, c. 1972; White Painting [Torso], 1966; Ronald Nameth, Andy Warhol’s Exploding Plastic Inevitable, 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Sunset, 1972; Mao, 1972. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol’s Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol’s Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol’s Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Mylar and Plexiglas Construction, c. 1970; Mao, 1972; Willard Mass, Andy Warhol’s Silver Flotations, 1966; Vote McGovern, 1972; Mao, 1973; White Painting [Torso], 1966. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Sunset, 1972; Andy Warhol’s Fifteen Minutes, episode 3, 1987; Ladies and Gentlemen (Alphanso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Ladies and Gentlemen (Wilhelmina Ross), 1975. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Ladies and Gentlemen (Alphonso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Ladies and Gentlemen (Wilhelmina Ross), 1975. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Buy Your Apartment Building!, 1985; Are You “Different”? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are Just One Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern U.S.S.R., Missile Bases, 1985–86; Camouflage, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel’s Anniversary Sale/Artist Could Have Choked), 1983; Heaven and Hell are Just One Breath Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over 40 (How You Can), 1986; Mark of the Beast (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Front Page (“Jessica Savitch/Marine Death Toll”), 1983; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Gun, 1981–82; Self-Portrait with Skull, 1978; The Last Supper (Be a Somebody with a Body), 1985–86; Hamburger (Negative), 1985–86; Reagan Budget, 1985–86; Dollar Sign, 1981; Repent and Sin No More! (Positive), 1985–86; Stress! (Negative), 1985–86; Somebody Wants to Buy Your Apartment Building!, 1985; Are You “Different”? (Negative), 1985–86; Dollar Sign, 1981; Heaven and Hell are Just One Breath Away! (Negative), 1985–86; Stress! (Positive), 1985–86; Physiological Diagram, 1985–86; Map of Eastern U.S.S.R., Missile Bases, 1985–86; Camouflage, 1987; Andy Warhol and Keith Haring, Untitled, 1985; Daily News (Gimbel’s Anniversary Sale/Artist Could Have Choked), 1983; Heaven and Hell are Just One Breath Away! (Positive), 1985–86; Map: Soviet Footholds, 1985; Over 40 (How You Can), 1986; Mark of the Beast (Positive), c. 1985–86; Map: Nicaragua and Honduras, 1984–85; Dollar Sign, 1981; New York Post, Front Page (“Jessica Savitch/Marine Death Toll”), 1983; Skull, 1976; Skull, 1976. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985; Skull, 1976; Skull, 1975; Skull, 1976; Skull, 1976; Still Life, 1975; Still Life, 1975. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Still Life, 1975; Hammer and Sickle, c. 1976; Hammer and Sickle with Vibrator, c. 1976; Hammer and Sickle with Big Mac, c. 1976; Hammer and Sickle with Wonder Bread, c. 1976; Skull, c. 1976; Skull, c. 1976; Shadows, c. 1978; Shadows, c. 1978; Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Andy Warhol and Jean-Michel Basquiat, Third Eye, 1985. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Shadow (Diamond Dust), 1979; Shadow (Diamond Dust), 1978; Shadow (Diamond Dust), 1978; Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Sunset, 1972; Andy Warhol’s Fifteen Minutes, episode 3, 1987; Ladies and Gentlemen (Alphanso Panell), 1975; Ladies and Gentlemen (Ivette and Lurdes), 1975; Ladies and Gentlemen (Helen/Harry Morales), 1975; Ladies and Gentlemen (Marsha P. Johnson), 1975; Selections from Sex Parts, 1978; Oxidation Painting, 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Self-Portrait, 1966; Big Electric Chair, 1967–68; Big Electric Chair, 1967; Mylar and Plexiglas Construction, c. 1970; Selections from Sex Parts, 1978; Oxidation Painting, 1978; Hammer and Sickle, 1976; Hammer and Sickle, 1976. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Andy Warhol and Jean-Michel Basquiat, Paramount, 1984–85; Oxidation Painting, 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right, top to bottom: Hammer and Sickle, 1976; Hammer and Sickle, 1976; Cross, 1981–82; Gun, 1981–82; Self-Portrait with Skull, 1978; Self-Portrait, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Self-Portrait, 1986; Shadow (Diamond Dust), 1979; Shadow (Diamond Dust), 1978; Shadow (Diamond Dust), 1978. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Sixty-Three White Mona Lisas, 1979; Rorschach, 1984. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Sixty-Three White Mona Lisas, 1979; Rorschach, 1984; Camouflage Last Supper, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Camouflage Last Supper, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Camouflage Last Supper, 1986; Rorschach, 1984. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Rorschach, 1984; Sixty-Three White Mona Lisas, 1979. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Untitled (White Brick Wall), 1986; Masks, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Time Capsule 100, 1973–74 (bulk: 1974). Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Camouflage, 1986; Time Capsule 100, 1973–74. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). From left to right: Campbell’s Soup Cans, 1962; Camouflage, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to bottom: Ivan Karp, 1974; Marilynn Karp, 1974; Joseph Kosuth, 1974; Julia Warhola, 1974; Attilio Codognato, 1974; Man Ray, 1974; Dorothy Lichtenstein, 1974; Ronald Feldman, 1974; Halston, 1975. Center wall, left to right, top to bottom: Leo Castelli, 1975; Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Gianni Versace, 1979–80; Jane Holzer, 1975; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Self-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; R.C. Gorman, 1979; Murray Brant, 1975; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Right wall, left to right, top to bottom: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Diamond Dust Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to bottom: Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Gianni Versace, 1979–80; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Self-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; R.C. Gorman, 1979; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Right wall, left to right, top to bottom: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Robert Mapplethorpe, 1983; Stephen Sprouse, 1984; Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Diamond Dust Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; Pia Zadora, 1983; Kenny and Zena Scharf, 1984; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983; Tina Chow, 1983–84; Michael Chow, 1984; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to bottom: Jermayne McAgy, 1968; Dennis Hopper, 1971; Dennis Hopper, 1971; Marella Agnelli, 1973; Ivan Karp, 1974; Marilynn Karp, 1974; Joseph Kosuth, 1974; Dominique de Menil, 1969; Irving Blum, 1972; Irving Blum, 1972; Ileana Sonnabend, 1973; Julia Warhola, 1974; Attilio Codognato, 1974; Man Ray, 1974; Alexander Iolas, 1970; Lee Radziwill, 1972; Kimiko Powers, 1972; Henry Geldzahler, 1973–74; Dorothy Lichtenstein, 1974; Ronald Feldman, 1974; Halston, 1975. Right wall, left to right, top to bottom: Leo Castelli, 1975; Mick Jagger, 1975–76; Farah Diba Pahlavi, 1976; Chris Evert, 1977; Pelé, 1977; Liza Minnelli, 1978; Truman Capote, 1979; Truman Capote, 1979; Jane Holzer, 1975; Roy Lichtenstein, 1976; Mohammad Reza Shah Pahlavi, 1976; Muhammad Ali, 1977; Corice Arman, 1977; Self-Portrait, 1978; Henry Geldzahler, 1979; Neil Sedaka, 1979; Murray Brant, 1975; Jamie Wyeth, 1976; Ashraf Pahlavi, Princess of Iran, 1977; Kareem Abdul Jabar, 1977; Michael Heizer, 1978; Thomas Ammann, 1978; John Reinhold, 1979; Berkeley Reinhold, 1979. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to bottom: Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Suzie Frankfurt, c. 1985; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; Debbie Harry, 1980; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986; Dolly Parton, 1986. Right wall, left to right, top to bottom: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Bruno Bischofberger, 1971; Jed Johnson, c. 1973; Jed Johnson, c. 1973; Jed Johnson, c. 1973; Jed Johnson, c. 1973. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York


Installation view of Andy Warhol – From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019). Left wall, left to right, top to bottom: Truman Capote, 1979; Gianni Versace, 1979–80; Neil Sedaka, 1979; R.C. Gorman, 1979; Berkeley Reinhold, 1979; Carolina Herrera, 1979. Center wall, left to right, top to bottom: Martha Graham, 1980; Francesco Clemente, 1981; Jean-Michel Basquiat, 1982; Robert Mapplethorpe, 1983; Stephen Sprouse, 1984; Portrait of Emily Fisher Landau, 1984; Douglas Cramer, 1985; Peter Halley, 1986; Suzie Frankfurt, c. 1985; Diamond Dust Joseph Beuys, 1980; Giorgio Armani, 1981; Keith Haring and John Dubose, 1983; Pia Zadora, 1983; Kenny and Zena Scharf, 1984; Teresa and Zena Scharf, 1984; Corice Arman, 1986; Arman, 1986; Debbie Harry, 1980; David Whitney, 1980; Jon Gould, 1981; Cornelia Guest, 1983; Tina Chow, 1983–84; Michael Chow, 1984; Pat Hearn, 1985; Donald Baechler, 1986; Aretha Franklin, 1986; Dolly Parton, 1986. Right wall, left to right, top to bottom: Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971; Sandy Brant, 1971. Photograph by Ron Amstutz. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

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Shop nowIn the News
"It explores tensions between conformity and innovation, celebrity and privacy, and examines how Warhol expressed commentary and desire in his art."
—PBS News Hour
"A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, faith — and reasserts his power for a new generation."
—The New York Times
“It can be guaranteed that 'From A to B and Back Again' will prove an inescapable cultural event. It also promises an equal intellectual bonanza.”
—Artforum
“'To humanize Warhol and get people to actually look at what he made is not as easy as it might sound.’ Now Ms. De Salvo is tackling that challenge in 'Andy Warhol—From A to B and Back Again,' the first Warhol retrospective organized by a United States museum since 1989.”
—The New York Times
“His 15 minutes of fame will never expire. More than 350 works make up this major retrospective that spans Warhol’s entire career from illustrator to pop icon.”
—Los Angeles Times
“In November, the Whitney Museum of American Art will feature the first U.S. retrospective of Andy Warhol’s art in some three decades, in an exhibition that will occupy a great deal of the institution’s eight-story, High Line-adjacent building.”
—The New Yorker
“De Salvo said she believes that the show will inspire viewers to look past the persona that the artist cultivated during his lifetime.”
—ARTnews
“What more is there to learn about this deeply superficial artist? The Whitney’s brilliant curator Donna De Salvo answers the question with the largest Warhol survey ever, featuring more than three hundred and fifty works.”
—The New Yorker
“Titled 'Andy Warhol — From A to B and Back Again,' it stars a full cross-section of his epochal creations."
—The New York Times
“The heart of Warhol’s idea — that by playing the role of businessman, an artist could turn himself into the latest, living example of a commodification he believed none of us can avoid — was perhaps as revolutionary in its time as Marcel Duchamp presenting a humble urinal as sculpture had been in 1917.”
—The New York Times
“One of its most groundbreaking aspects will be the concentration on the least-known time of Warhol’s life, the 1950s.”
—W Magazine
"All the possible aspects of his four-decades-long, multilayered practice, meticulously analyzed and presented."
—Widewalls
“Andy is in the air we breathe. Among the most revolutionary artists who ever lived, Warhol (was) an artist in a state of creative grace feeding on, mirroring, doubling, and actually changing the culture he pictured. The Whitney’s new retrospective…isn’t to be missed.”
—New York Magazine
"A remarkably handsome and topical show.”
—WNYC
“De Salvo aims to offer a unique perspective on his work—a personal one. She looks behind Warhol’s carefully constructed mask to explore how a gay man raised by Czech immigrants in a Catholic family became one of the world’s most experimental artists.”
—Artnet
“The wonderful thing about the Whitney show is that it places Warhol’s famous moments alongside the moments you have likely never seen or heard of… "
—The Daily Beast
“It’s all about Andy!...More than three decades after his death, Warhol’s art continues to draw crowds and remains relevant.”
—CBS New York
“There are plenty of hits— mediated and sequential images, experiments with abstraction, and Popism on full display.”
—Cultured
“The Best Part of the Whitney Warhol Retrospective Might Be His Pre-Fame Drawings of Shoes and Boys.”
—Vulture
"The Whitney’s celebrated Warhol extravaganza explores lesser-known elements of the Pop artist’s oeuvre, including his homoerotic drawings and portraits of men in drag from the 1960s.”
—Artnet
“Warhol didn’t make a mark on American culture. He became the instrument with which American culture designated itself.”
—The New Yorker
"Warhol—a pale, oracular ghost—looms as a spiritual father of this media-saturated age.”
—The Economist
About the Exhibition
The exhibition positions Warhol's career as a continuum, demonstrating that he didn't slow down after surviving the assassination attempt that nearly took his life in 1968, but entered into a period of intense experimentation. The show illuminates the breadth, depth, and interconnectedness of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and 70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. His repetitions, distortions, camouflaging, incongruous color, and recycling of his own imagery challenge our faith in images and the value of cultural icons, anticipating the profound effects and issues of the current digital age.
This is the largest monographic exhibition to date at the Whitney's new location, with more than 350 works of art, many assembled together for the first time.
The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial research associate.
The accompanying film program is co-organized with the Andy Warhol Museum, Pittsburgh, and curated by Claire K. Henry, assistant curator.
Leadership support of Andy Warhol—From A to B and Back Again is provided by Kenneth C. Griffin.
Bank of America is the National Tour Sponsor
In New York, exhibition is also sponsored by
Generous support is provided by Neil G. Bluhm and Larry Gagosian.
Major support is provided by The Brown Foundation, Inc., of Houston; Foundation 14; Mr. and Mrs. J. Tomilson Hill; The Horace W. Goldsmith Foundation; the Philip and Janice Levin Foundation; The Thompson Family Foundation, Inc.; and the Whitney’s National Committee.
Significant support is provided by the Blavatnik Family Foundation, Lise and Michael Evans, Susan and John Hess, Allison and Warren Kanders, Ashley Leeds and Christopher Harland, the National Endowment for the Arts, Brooke and Daniel Neidich, Per Skarstedt, and anonymous donors.
Additional support is provided by Bill and Maria Bell, Kemal Has Cingillioglu, Jeffrey Deitch, Andrew J. and Christine C. Hall, Constance and David Littman, the Mugrabi Collection, John and Amy Phelan, Louise and Leonard Riggio, Norman and Melissa Selby, Paul and Gayle Stoffel, Mathew and Ann Wolf, and Sophocles and Silvia Zoullas.
New York Magazine is the exclusive media sponsor.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Support for the catalogue is provided by Acquavella Galleries and the Paul J. Schupf Lifetime Trust.
The opening dinner is sponsored by
Related Exhibition
Also open from October 26–December 15, 2018, the Dia Art Foundation presents Andy Warhol, Shadows at 205 West 39th Street, a streetfront space in Calvin Klein, Inc.’s headquarters. The installation surrounds the viewer with a series of canvases, presented edge-to-edge around the perimeter of the room, in conformity with Warhol’s original vision. Following its New York presentation, the work reopens as a long-term installation at Dia:Beacon in 2019.