The Andy Warhol Foundation for the Visual Arts

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The Andy Warhol Foundation for the Visual Arts The Foundation was established in 1987. In accordance with Andy Warhol's will, its mission is the advancement of the visual arts.

The funded exhibition "Imagining an Archipelago: Art from Cuba, Guam, the Philippines, Puerto Rico, and Their Diaspora...
10/15/2026

The funded exhibition "Imagining an Archipelago: Art from Cuba, Guam, the Philippines, Puerto Rico, and Their Diasporas" brings together paintings, sculptures, videos, prints, photographs, and multimedia installations—including several newly commissioned, site-specific works—that explore artists’ relationships to the histories and communities of their lands and seas.⁠

Through ephemeral sculptures made of pressed sand, Mariana Ramos Oritz alludes to the coinciding collapse of public infrastructure and environmental degradation of Puerto Rico. "Alternate Cartographies" looks at Los Pozos, a coastal terrain in Cabo Rojo actively threatened by a tourist megaproject currently in development.

On view at the Colby College Museum of Art and curated by Jessamine Batario, the Foundation supports this exhibition for offering a new and vital lens through which to see connections between the past and a present moment marked by global and domestic events that test the viability of democracy.⁠

1. & 2. Mariana Ramos Ortiz, Cartografias alternas (Los Pozos)/ Alternate Cartographies (Los Pozos), 2025. UV-cured pigment on pressed sand. 10 x 10 x 1 in.

In the 1960s, silver became a defining part of Andy Warhol’s visual identity—from the Factory’s walls and his portraits...
10/14/2026



In the 1960s, silver became a defining part of Andy Warhol’s visual identity—from the Factory’s walls and his portraits of Liz and Elvis to his “Cloud” sculptures and wigs. In a 1966 interview he quipped, “Edie’s hair was dyed silver and therefore I copied my hair because I wanted to look like Edie because I always wanted to look like a girl.”

In May of 1967, the Fine Arts Committee of the Arts Council of the Philadelphia YMHA presented “The Museum of Merchandise” organized by Joan Kron and Audrey Sabol, two Pop art enthusiasts who introduced many New York artists to the Philadelphia art scene. Kron had met Warhol through Jonas Mekas and had organized a screening of his films the previous year. Inspired by a quote from philosopher Marshal McLuhan, it was “an exhibition of consumer goods designed and adapted by the artist for the collector…works of are that have a function application.”

Warhol’s contribution was advertised as toilet water named “You’re In”, three appropriated crates of Coca-Cola bottles that were spray painted silver. Although the pun of the name has lent Warhol’s work to an aura of notoriety, the bottles’ fluid contents were not urine at all, but an inexpensive scent called “Silver Lining” by Cassell.

However, Coca-Cola got wind of "You're In" and demanded that the sales of the work stop immediately. As a result, at “The Museum of Merchandise” Warhol’s “You’re In” bottles were given away with the purchase of a bottle of “Silver Lining”.

Visit the link in our bio for information about the Andy Warhol Catalogue Raisonnè⁠.⁠
1., 3. & 4. Andy Warhol, You're In, 1967. Spray paint on glass Coca-Cola bottle, 8 x 8 ½ in. (each).

2. Andy Warhol, You're In, 1967. Spray paint on 24 glass Coca-Cola bottle in painted wood crate, 8 ½ x 18 x 11 in.

5. Andy Warhol, You're In, 1967. Spray paint on 12 glass Coca-Cola bottle in painted wood crate, 8 ½ x 18 x 11 in.⁠⁠⁠

Currently installed on the facade of the Isabella Stewart Gardner Museum is a video-still print of a guardian-like cre...
10/13/2026

Currently installed on the facade of the Isabella Stewart Gardner Museum is a video-still print of a guardian-like creature that represents one iteration of Israeli American artist Michal Rovner’s series "Night" which depicts a jackal. For months Rovner listened to the nightly howls of these nocturnal creatures in the hills around her home was reminded of Anubis, the jackal-headed god of Egyptian mythology, protector of souls traveling to the afterlife.

Across the image, tiny figures seem to move under and through the jackal’s watchful gaze, protected in their ethereal journey. Through these animals, Rovner asks us to turn our own eyes to the timeless human universality of belonging and otherness, fear and perseverance.

The Foundation supports the Isabelle Stewart Gardner Museum's exhibition program for providing a uniquely rich and intimate context for contemporary artistic research and practice.⁠
1. Michal Rovner, Untitled/Night, 2016. (detail)

2. Michal Rovner, Untitled/Night, 2016. Installation on the Anne H. Fitzpatrick Façade, Isabella Stewart Gardner Museum, Boston.

The funded exhibition "Replica of a Chip: The⁠ Weaving Technology of Marilou Schultz" on view at CCS⁠ Bard's Hessel Mu...
10/12/2026

The funded exhibition "Replica of a Chip: The⁠ Weaving Technology of Marilou Schultz" on view at CCS⁠ Bard's Hessel Museum of Art marks the first survey of acclaimed Navajo/Diné weaver and mathematics educator Marilou Schultz. The exhibition positions Schultz as an innovator whose work across culture and industry has influenced the practices of art, Navajo weaving, and computer architecture over a 65-year career. ⁠
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"Replica of a Chip" traces the full arc of Schultz’s artistic practice, demonstrating how she has consistently pushed the boundaries of experimentation within Navajo weaving, first through teaching herself new weaving styles, dyes, and techniques and later, using it as a means to reflect on the digital technologies shaping contemporary culture and society—from early computer microprocessors to stock market tickers and other digital data.⁠
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Curated by Candice Hopkins, the Foundation supports this exhibition for highlighting the work of an artist who gives visibility to this history and to the technical achievements of Indigenous communities that have gone unrecognized.⁠⁠
1. Marilou Schultz, Geo XX Diné Computer Chip Weaving, 2026. Tapestry woven using fine yarns of aniline-dyed and natural-dyed hand-spun yarns with metallic threads, 48 x 38 in.
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2. Marilou Schultz, Water, Tó, 2022. Indigo dyed wool, 41 x 27 in.
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3. Marilou Schultz, Nizhoni AMD, 2008. Wool (with archival material from Fairchild Industries), 98 3/8 x 47 ¼ in.⁠⁠⁠

The funded exhibition “Willie Birch: Stories to Tell” is the first major retrospective for the artist in his more than...
10/11/2026

The funded exhibition “Willie Birch: Stories to Tell” is the first major retrospective for the artist in his more than five decades long career. Organized by American Federation for the Arts, and on view at the California African American Museum, the exhibition spans across his enduring body of work rooted in the everyday lives, struggles, and joys of the Black community His works incorporate and are intertwined with themes of community and are grounded in geography, in ancestry, in politics, and in humanity.

Birch’s works do not shy away from the complexities of race, poverty, and systemic inequity, nor does it romanticize struggle. Instead, it offers a visual language that holds space for contradiction – pain and joy, vulnerability and price, endurance and resistance, documenting what he calls “the everyday ritual of life.” The exhibition also highlights the way that African traditions can fit into American culture, with Birch occupying a unique position as both an observer and a participant.

The Foundation supports this exhibition for bringing Birch’s unique vision of the Black American experience to new audiences across the country and for highlighting a historically underrecognized artist.
1. Willie Birch, Land of the Blacks Series #1, 1973. Acrylic on canvas. 67 x 68 inches.

2. Willie Birch, The Nairobi Series: For the Mau Mau, 1992. Painted paper-mache and mixed media, 16 x 12 x 8 inches.

3. Willie Birch, Remembering (for Joyce Scott), 2011. Acrylic and charcoal on paper, 65 x 60 inches.

In conjunction with the funded exhibition "Diskette//Rosette," 2nd story will host two special programming events rela...
10/10/2026

In conjunction with the funded exhibition "Diskette//Rosette," 2nd story will host two special programming events related to the exhibiition.

On Sunday, 10/11 from 2 - 3pm. artist Camila Galaz will lead a free hands-on zine-making workshop exploring the language and imagery of early computer advertising

On Tuesday, 10/27, at 7:15pm at The Kentucky Theater, there will be a screening of a 30-minute documentary about "9 Evenings", a performance series conceived by Experiments in Art and Technology (E.A.T.) which brought together artists, engineers, and scientists, and to explore how emerging technologies. Participants included John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman, and more than thirty engineers and scientists from Bell Telephone Laboratories. This screening focusues on John Cage’s performance Variations VII, during which he drew sounds from telephone lines, radio signals, household appliances, generators, brainwaves, and other sources to create a constantly changing composition.

"Diskette//Rosette" is Galaz's first US solo exhibition and presents a series of new paintings, video, digital prints, and an interactive website examining how 1980s computer advertising used the symbol of the rose to humanize technology.

The Foundation supports this exhibition for asking audiences to consider how emotional attachment to machines continues to be designed, marketed, and normalized today. ⁠
1. Camila Galaz, It Eats So Much (PerfectData, 1983), 2026. Acrylic and graphite on wood panel, 24 x 18 inches.

2. Camila Galaz, Everyone’s Data, 2026. Digital print, dimensions variable.
.Art

“I don’t think I have an image, favorable or unfavorable.” —Andy WarholAndy Warhol, Self-portrait, 1977. Polacolor Type...
10/09/2026



“I don’t think I have an image, favorable or unfavorable.” —Andy Warhol

Andy Warhol, Self-portrait, 1977. Polacolor Type 108, 4 ¼ x 3 3/8 in. ©The Andy Warhol Foundation for the Visual Arts, Inc.⁠⁠⁠⁠

“Warped Archive,” a funded exhibition by Linda Sok, on view at the Brattleboro Museum & Art Center, engages with Fren...
10/08/2026

“Warped Archive,” a funded exhibition by Linda Sok, on view at the Brattleboro Museum & Art Center, engages with French-colonial documentation of disappeared textiles at the National Museum of Cambodia. Her work is informed by Cambodia’s political history, referencing the deadly Khmer Rouge totalitarian regime during the 1970s that persecuted weavers and destroyed their work.

Using tapestries as her medium, Sok imagines contemporary meanings for diasporic textile tradition, exploring the tender tension between history and imagination that pose the question: What might be gleaned or remade from a warped archive? She also examines what it means for a work to be lost, whether that be destroyed by government forces, stolen via colonial plundering, misplaced in museum storage, or used until threadbare and disintegrating.

The Foundation supports exhibitions at the Brattleboro Museum & Art Center for presenting new and experimental bodies of work, providing artist-to-artist connections, and nuturing creative growth.
1. Linda Sok, Deities in Temples XI, 2024. Visuals drawn by family members, silk threads (printed then woven), dye. 35 x 40 in. Photo by Erin Jenkins.

2. Linda Sok, White elephants, gajasimhas and buildings, 2025. Visuals drawn by students in Cambodia, silk threads, dye. Photo by Erin Jenkins.

3. Linda Sok, We are going to temple tomorrow, who wanna come, 2022. Cambodian silk, printed and woven silk threads. 45 x 98. Photo by Erin Jenkins
&ArtCenter

In a 1977 interview with Glenn O’Brien for High Times magazine, Warhol was asked, “Who was the first artist to influenc...
10/07/2026



In a 1977 interview with Glenn O’Brien for High Times magazine, Warhol was asked, “Who was the first artist to influence you?” Warhol answered, “It must have been Walt Disney.” As a child with a weak constitution, Warhol spent a lot of time alone in his room, “listening to the radio and lying in bed with my Charlie McCarthy doll and my un-cut-out cut-out paper dolls all over the spread and under my pillow.” Warhol claims some of these dolls may have been Disney’s Snow White.

In 1980 Warhol embarked on his “Myths” series, commissioned by Ronald Feldman Gallery. It consisted of paintings, drawings, and prints of 10 legendary figures from popular culture who shaped the collective imagination. Included in the series were Santa Claus, Superman, Dracula, the Wicked Witch of the West, Mammy, Uncle Sam, and Mickey Mouse. These portraits were a novel approach to his ongoing obsession with celebrities.

Created by Walt Disney in 1928 and distinguished by his simplistic form, Mickey Mouse is one of the world’s most recognizable and beloved cartoon characters. Mickey, as the iconic symbol of the Walt Disney Company, held special significance for Warhol. He admired Disney not only as an artist but also as a shrewd entrepreneur who transformed images into empires.

Warhol created Mickey Mouse in many forms: singular and cropped, doubled and full-bodied, arranged in a four-image grid, drawn in graphite or marker on paper, and embellished with diamond dust. These works bridge art, nostalgia, and consumer culture while extending his exploration of individuality and mass identity. Both personal and universal, human and cartoon, Mickey becomes a symbol of joy, repetition, and the endless circulation of images in modern life.

Visit the link in our bio for information about the Andy Warhol Catalogue Raisonnè⁠.
1. & 6. Andy Warhol, Myths: Mickey Mouse, 1981. Screenprint on Arches 88 paper, 30 ½ x 43 in.

2. & 5. Andy Warhol, Myths: Mickey Mouse, 1981. Synthetic polymer paint and silkscreen ink on canvas, 60 x 60 in.

3. Andy Warhol, Myths: Mickey Mouse, 1981. Screenprint on Lenox Museum Board, 38 x 38 in.

4. Andy Warhol, Mickey Mouse, 1981. Graphite on HMP paper, 31 7/8 x 24 in.

In conjunction with the current exhibition "Woven Futures, Unbound Patterns: Contemporary Diné Weaving" ICA Santa Fe w...
10/06/2026

In conjunction with the current exhibition "Woven Futures, Unbound Patterns: Contemporary Diné Weaving" ICA Santa Fe will host a conversation on Wed. 10/7 with sculptor Rose B. Simpson and Joshua Michael Schrei, creator and host of The Emerald podcast, for It Seems Everywhere There Are Eyes. Drawing from Simpson’s relationship with clay and herengagement with artistic practice, and Schrei’s work with myth, story, and animate traditions, the conversation will explore making as an exchange between artist and material.

"Woven Futures, Unbound Patterns: Contemporary Diné Weaving," curated by Venancio Aragón brings together weavers across generations to foreground weaving as a living, evolving practice. Moving beyond historical frameworks shaped by trading posts, static ethnographic framings, and external narratives, the exhibition centers weaving as a practice led by the weavers themselves.

The Foundation supports ICA Santa Fe for fostering the exchange of ideas across cultures, fields, and generations, creating space for artistic practices that engage complex histories and emergent forms of knowledge.⁠⁠
1. Tyrrell Tapaha, Sonny Boi Summer, 2023. ⁠
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2. Theresa Bowman [Diné (Navajo)], Rug, diamond twill weave, 1942. Wool and dyes, 54 × 36 in. Courtesy of the School of Advanced Research. Photo by Addison Doty⁠
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3. Venancio Aragón, Black and White Checks. Wool/mohair weft, wool warp⁠, Natural and synthetic dyes.⁠
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