Exhibit of the week: Regarding Warhol: Sixty Artists, Fifty Years

The Metropolitan Museum of Art brings together some 45 “first-rate” Warhols and the works of 60 other artists.

Metropolitan Museum of Art

Through Dec. 31

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The show’s biggest flaw, oddly, is that it contains “too many masterpieces, too much stunning art,” said Blake Gopnik in Newsweek. The Met asks us to look at surface details of Warhol’s work—the use of pop subjects, the repeated images, the “brash colors”—but in doing so misses the “unique Warholian essence” of even the most iconic silk screens. As eye-pleasing as his images can be, they all once held a different kind of power. His famous Brillo boxes and Campbell’s soup cans were “as dumb and mute” as the objects they totemized, and we do his legacy a disservice when we ignore “the lurking possibility that he’s simply bad.” That can’t be said of the other artists represented here; “their works feel fully willed and artfully conceived.” Yet Warhol surpasses all of them in importance because in consistently presenting himself as perhaps just a thoughtless simpleton, he remade what art might be.

“Warhol was so clairvoyant an artist that he scarcely needed to be a great one,” said Peter Schjeldahl in The New Yorker. “But he was that too.” When we gauge the enduring power of his 1966 Elsie the Cow wallpaper or a 1967 self-portrait, his “eye for improbable chromatic harmonies cannot be overrated.” A few of his contemporaries and followers contribute work that expands on his innovations: Gerhard Richter’s 1964 painting Administration Building is “so aggressively boring that it electrifies,” while Koons’s sculptures feel purposefully contentless—“carefully empty-minded monuments” to the sheer wealth of his international clientele. Rating the other artists by their capacity to answer Warhol’s challenges turns out to be one of the show’s great pleasures. “If you go, take someone to argue with.”