In the 1970s, Andy Warhol turned the camera on himself — in full drag, in full colour, entirely unapologetic. The man who had spent two decades making icons of Marilyn, Elvis, and Mao now made one of himself, in lipstick and a wig, staring down the lens with the same flat, knowing expression he brought to everything. It was performance, provocation, and self-portraiture all at once. Warhol had always understood that identity was a construction — that the self was just another image to be reproduced, repeated, and recoloured. The drag portraits made that argument explicit. This Elliott Best pop art piece presents four of those images in the classic Warhol quad format — the same face, four times, each slightly different, the repetition doing what repetition always does: turning a person into a symbol.
