Robert Rosenblum

1 Andy Warhol: The Late Work” (Kunstmuseum Liechtenstein, Vaduz) In a year that honored our pantheon of twentieth-century deities (see below), two Warhol shows soared high. Organized by Mark Francis and Jean-Hubert Martin for Museum Kunst Palast, Düsseldorf, “The Late Work” buried stale prejudices that favor ’60s over ’70s and ’80s Warhol by offering an eye-popping spectacle of little-known work, including mural-size crosses and knives, replays of Pollock’s drip paintings as tangled yarn, and takes on Arp’s and Kelly’s organic contours as the flattened profiles of a dozen supermarket eggs. These fresh vistas should soon prompt new excavations into Late Warhol–land.

2 Andy Warhol: Self-Portraits” (Kunstmuseum St. Gallen, Switzerland) Like Picasso’s ever-expanding universe, Warhol’s can constantly be seen from new angles, in this case through the lens of self-portraiture. As evidenced in

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