Can art be commercial? The very name of Warhol´s studio was programmatic. With the unromantic term »factory«, Warhol alluded to the commercial principle of his production. For Andy Warhol, art and commerce were never in contradiction; rather, they belonged together. Just as Hollywood stars were marketed on a massive scale to ensure ticket sales, Warhol always took into consideration the commodity character of his works. The concept found worldwide recognition, with profound consequences for the art scene, among other things. For instance, in Cologne in 1968 the serial principle was applied directly to the art trade; for the first time, art works could be purchased at a trade fair, which is definitely state of the art today—and having hundreds of different art fairs as well.

Andy Warhol´s fan articles from fridge magnets to tapestry kits to fine china are ultimately a continuation and expansion of the classic film poster used by Hollywood distributers to market their films. In addition, the stories of brands are told: Warhol images arose from the offerings of the mass media and in turn entered back into the system from which he borrowed them. In this way printed media of Warhol´s works form the raw material for new artworks, altered, manipulated and over-painted. They document Andy Warhol´s artistic principle, allowing everyone to own a Warhol.