THE NEW YORK TIMES
By Holland Cotter
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| Detail of Andy Warhol's “Camouflage Last Supper,” 1986. |
Mr. Paradox, who never left, is back. Although, technically, “Andy Warhol — From A to B and Back Again” at the
Whitney Museum of American Art is the artist’s first full American retrospective in 31 years,. At the same time, his ever-presence has made him, like wallpaper, like atmosphere, only half-noticed. He’s there, but do we care? We can’t not. He’s the most important American artist of the second half of the 20th century. And, strange as it seems for an artist so absorbed in worldly matters, images of spiritual transcendence were a staple of his work too, from the “Marilyn” paintings onward. And Ms. De Salvo has given his retrospective a celestial conclusion. [
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Whitney Museum of American Art: "Andy Warhol — From A to B and Back Again" (Through March 31, 2019); 99 Gansevoort Street, New York, NY; (212) 570-3600; whitney.org
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| “Camouflage Last Supper,” 1986. The 25-foot-long painting offers its “sacred narrative of dread and redemption half-buried in camouflage patterning,” our critic writes. The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York; Rebecca Smeyne for The New York Times |
