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.

  • Close-up of a textured fabric with a repetitive, intricate pattern of orange and white lines against a dark background.
    Close-up of a textured fabric with a repetitive, intricate pattern of orange and white lines against a dark background.

    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

  • Graphic artwork with bold black and white brush strokes against a dotted blue background and splashes of red and yellow.
    Graphic artwork with bold black and white brush strokes against a dotted blue background and splashes of red and yellow.

    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

  • A sculpture composed of crumpled and twisted metal sheets in various colors including gold, green, red, and orange, displayed against a grey floor and white background.
    A sculpture composed of crumpled and twisted metal sheets in various colors including gold, green, red, and orange, displayed against a grey floor and white background.

    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 75.52. ©John Chamberlain/Artists Rights Society (ARS), New York

  • A vertical, rectangular sculpture with a black background and a yellow panel featuring red question marks at the top. Two wooden wheels are mounted in the center, one above the other, and a red arrow points to the right. The word "MATE" is painted in red at the bottom.
    A vertical, rectangular sculpture with a black background and a yellow panel featuring red question marks at the top. Two wooden wheels are mounted in the center, one above the other, and a red arrow points to the right. The word "MATE" is painted in red 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)

  • A graphic artwork featuring a series of black vertical lines creating a maze-like pattern on the left side of a white paper. The pattern includes a central cross shape with lines radiating outwards in a symmetrical design. The right side of the paper is blank, and there is a signature at the bottom right corner.
    A graphic artwork featuring a series of black vertical lines creating a maze-like pattern on the left side of a white paper. The pattern includes a central cross shape with lines radiating outwards in a symmetrical design. The right side of the paper is blank, and there is a signature at the bottom right corner.

    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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