Through an examination of Andy Warhol's use of food imagery, this article considers the artist's representational strategies during the 1960s. In particular, it discusses Warhol's Campbell's soup paintings of ca.1961 –– ′′62 and his 1968 television advertisement for the Schrafft's chain of diners as two points on a spectrum of representation, revealing his shifting approaches to the art object. By exploring the commercial interests that drove each project, the different media in which they were completed, and the artist's public statements about each work, this article traces Warhol's early indebtedness to the romanticized notion of the personally inflected artwork to his later promotion of an art of pure surface.

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