Andy Warhol, the chronicler of an era, was known for admitting his “fondness for dull things,” which by the early 1960s corresponded to his use of photographic reproductions of found imagery culled from newspapers, magazines, and image archives. In 1978, at age 50, Warhol embarked upon the production of a monumental body of work titled Shadows with the assistance of his entourage at the Factory. These 102 silkscreened canvas panels formalized earlier explorations with abstraction. To locate the radical implications of Warhol’s Shadows, one must begin with the work’s form: this series was conceived as one painting in multiple parts, the final number of canvases determined by the dimensions of an exhibition space. In the first exhibition 83 canvases were installed edge to edge, a foot from the floor, in the order that Warhol’s assistants hung them.
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