It's the place where my prediction from the sixties finally came true: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous." - Andy Warhol (from Andy Warhol's Exposures (1979) "Studio 54")

The exhibition In Fifteen Minutes Everybody Will Be Famous brings together 22 international artists whose work refers either to Warhol’s signature Pop style, his “Art as Business” ethos, or to the infamous motifs and events that characterized his controversial career.

Dan Colen and Dash Snow helped foster NYC’s downtown scene of punk bohemians, artists, musicians and hip degenerates in the early naughties, and were both featured on the cover of New York Magazine in 2007 under the heading “Warhol’s Children.” Colen and Snow personify the counterculture, the creative collectivism and the decadence that defined Warhol’s Factory era, a bittersweet heritage that ended tragically for Snow, who died of a drug overdose this past summer just a few years shy of 30, similar to “Factory Girl” and heiress Edie Sedgwick, Warhol’s legendary muse.

Warhol’s early professional years as a commercial illustrator are channeled by street artist xoooox, whose series of stilettos recalls Warhol’s shoe advertisements from the 1950’s, as well as his later works depicting pumps silk screened with diamond dust. When Warhol needed an idea, his friends famously told him to just paint what he loves. Thus, in the early 1960’s the artist began to paint cans of Campbell Soup, which he claimed to eat every day. Awst & Walther’s sculpture invokes Warhol’s iconic soup can motif, as does John Isaacs’ photograph, Yesterday, Today and Tomorrow.

Besides soup cans and money, Warhol’s other favorite subject was undoubtedly celebrities. Zhiavgo Duncan’s silk-screened paintings of forgotten celebrities, culled from back issues of Warhol’s Interview Magazine and then distorted by the artist, allude to Warhol’s signature silk-screened portraits and hint at the terrifying transformations induced by fame.  Thomas Eller's piece, THE blind (me) I, invokes Warhol's famous work Double Elvis in its silvery surface and composition. Bruce LaBruce also uses the silkscreen technique to create his homoerotic paintings of zombies, taken from his avant-garde film, LA ZOMBIE: The film that would not die. Marcel Buhler’s series of silk-screened canvases depict superstar artist Josef Beuys, Germany’s Warhol equivalent in terms of stature, but whose social utopian philosophy perfectly contradicted Warhol’s obsession with the cult of celebrity and the spoils of capitalism.

Warhol’s fascination with fame inspired not only his portraits of movie stars and socialites, but also his controversial depiction of the Chinese Communist Leader Mao. In true Warholian fashion, the artist created wallpaper comprised entirely of multiples of Mao’s portrait. Warhol became known for this manner of repetition, as seen in his works 100 Coke Bottles, 100 Soup Cans and 100 Dollar Bills, among others. Integrating Warhol’s use of wallpaper, his style of image multiplication and a 1982 photo of the artist taken in front of Mao’s portrait in China’s Tian'anmen Square, Jomar Statkun’s work The Golden Cast recreates this photograph with himself in Warhol’s place as the basis for his own wallpaper. The juxtaposition of the original photo of Warhol and Statkun’s self-portrait, as well as Mao’s symbolic presence, revives Warhol’s original wallpaper work with Statkun’s contemporary practice.