Takashi Murakami

THE FIRST TIME I EVER SAW A WARHOL WAS ABOUT TWENTY-FIVE years ago. It was at an import bookstore in Tokyo, on the cover of Interview magazine. A full ten years passed before I finally got the chance to see his work up close in galleries and museums. Just recently, I selected one of Warhol’s “Camouflage” paintings for an artist’s-choice exhibition at Marianne Boesky Gallery in New York. I chose this work because it represents the culmination of Pop, completely eliminating narrative and emotion, i.e., the conventional elements in the history of painting. As someone who is always looking to what lies beyond Pop, I feel that a work such as this that stands at its pinnacle represents, for me, a kind of starting point.

Warhol laid the foundations for an art world where artists such as myself and Yoshitomo Nara, armed with contemporary Japanese culture, or even those already at its center, such

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