Masters of Pop : The Legacy of a Revolution

From March 12 to April 11, 2026

📍 2 Pl. Farhat Hached, 75013 Paris

The image is a language that constantly reinvents itself!

Until April 11, the gallery invites visitors to explore the fascinating lineage between the pioneers of Pop Art and the singular voices that continue today this quest for the absolute image.

The Historical Pillars: The Invention of a Language

The exhibition is structured around the masters who changed the course of Art History:

Andy Warhol, the pope of Pop, transforms consumer goods into eternal icons. With boldness, he reminds us that art, like a Coca-Cola, should be the same for everyone, from the most deprived to the most powerful. With his Campbell’s Soup Cans, he does not merely display a product: he elevates repetition and uniformity into the new democratic grammar of our civilization.

The genius of Jean-Michel Basquiat lies in his ability to make the silence of History scream. By exploring the anatomy of power dynamics, he delivers a major body of work that questions the mechanisms of exclusion and the place of identity in our modern societies.

In Robert Longo’s work, landscape becomes a political subject. His series Monsters captures the primal energy of a crashing wave: an autonomous, fascinating, and destructive entity that embodies the fragility of humanity in the face of forces greater than itself.

This physical rigor is echoed by the digital deconstruction of Invader. By appropriating the icons of Lichtenstein or cult images from pop culture (such as The Cure’s “Boys Don’t Cry”), he performs a kind of software update of Art History. The pixel becomes a new universal fabric: a signal that infiltrates everything, from urban walls to the luminescence of his “Sunsets,” whose glow reveals itself in darkness like a form of constant technological watch.

The Global Legacy: Banksy and the Spirit of the Street

If Warhol saw consumption as a form of equality, Banksy disrupts this vision forty years later. With his own Soup Cans, he shows that consumption has become a form of exclusion. By adopting the codes of “value” branding (the aesthetics of low-cost products), he subverts the icon to confront the reality of precarity.

In Choose Your Weapon, the “street fighter” holds Haring’s Barking Dog on a leash. “Choose your weapon”: in the face of power structures, the most effective weapon is culture. By reusing this symbol of hope and resistance from the 1980s, Banksy demonstrates that art is both a shield and a tool of expression that transcends time.

The New Scene: Between Minimalism and a Digital Future

The exhibition continues with artists who are reinventing contemporary codes:

The Californian brothers Shelby and Sandy cultivate an ultra-perfectionist aesthetic. Their vibrant color fields celebrate pure joy and a universal form of Pop that brings generations together.

Fenx, meanwhile, projects us into the future of Pop Art. His contemporary “Pythias,” immersed in a digital flow, become mediators of a technological divinity. His work questions the meeting point between ancient mystery and algorithmic guidance.

Masters of Pop is a journey through the eras and intensities of Pop Art, united by a common thread: all these artists understood that to change the world or shift mindsets, one must first win the battle of images.

Andy Warhol (1928 - 1987)

Campbell’s Soup II: Hot Dog Bean, (FS.II.59), 1969

Screenprint on paper

35 x 23 inches (88.9 x 58.4 cm)

Edition of 250

Signed in ball-point pen and numbered with a rubber stamp on verso

69 000 €



Andy Warhol (1928 - 1987)

Campbell’s Soup I: Chicken Noodle, II.45, 1968

Screenprint on paper

35 x 23 inches (88.9 x 58.4 cm)

Edition of 250

Signed and numbered

85 000 €

Andy Warhol (1928 - 1987)

Campbell’s Soup II: Old Fashioned Vegetable Soup, (FS.II.54), 1969

Screenprint on paper

35 x 23 inches (88.9 x 58.4 cm)

Edition of 250

Signed in ball-point pen and numbered with a rubber stamp on verso

65 000 €

Andy Warhol (1928 - 1987)

Campbell’s Soup II: Cheddar Cheese, (FS.II.63), 1969

Screenprint on paper

35 x 23 inches (88.9 x 58.4 cm)

Edition of 250

Signed in ball-point pen and numbered with a rubber stamp on verso

69 000 €

Campbell’s Soup I et II:

Hot Dog Bean, Cheddar Cheese, and Old Fashioned Vegetable belong to the Campbell’s Soup Cans II series, produced by Andy Warhol in 1969 in New York. This series follows Campbell’s Soup Cans I (1968), to which Chicken Noodle belongs.

Each series consists of ten screenprints depicting different Campbell’s soup flavors, each edition limited to 250 numbered prints and accompanied by 26 artist’s proofs.

Warhol began using the Campbell’s soup motif in the early 1960s, turning it into both a symbol of American consumer culture and a statement on art as product and image.

Screenprinting is Warhol’s signature technique, allowing him to produce images with a high degree of visual consistency, echoing the industrial objects he represents.

The image of the soup can is rendered with bright colors, sharp typography, and a frontal composition, recalling the layout of advertisements and the commercial aesthetics of consumer packaging.

The use of this technique helps erase traces of the artist’s hand in favor of a “machine-like” finish, a concept Warhol himself openly embraced in his artistic practice: “I want to be a machine.”

The composition is frontal and stripped down, typical of Warhol’s series, inviting viewers to consider an ordinary object as a subject worthy of art.

In doing so, Warhol transforms a everyday object into a visual icon. By isolating the image of the soup can, he encourages the viewer to reflect on how consumer products shape our collective representations.

The work embodies the principles of Pop Art, a movement that explores and celebrates images produced by mass culture. Warhol adopts a perspective that is both nostalgic and critical, while dissolving the traditional boundary between art and advertising.

The Campbell’s Soup Cans I and II series play with repetition and uniformity of format to question mass production and the visual consumption patterns of the time.

The unconventional “Hot Dog Bean” flavor, unusual within the world of soups, adds a touch of humor and absurdity to the series, reinforcing Warhol’s interest in ordinary objects and their potential to become icons.

The Campbell’s Soup Cans I and II series confirm the importance of the soup motif in Warhol’s practice.

Initiated in 1962 with his first paintings of 32 cans, this imagery became a visual archetype of modern and contemporary art, exploring both consumption and the production of images.

Jean-Michel Basquiat (1960 - 1988)
Undiscovered Genius, 1982-83/2019

Screenprint

22 x 30 in. (55.9 x 76.2 cm)

Edition of 20 AP

Authenticated by the Estate of Jean-Michel Basquiat

Stamped and signed by Lisane Basquiat and Jeanine Heriveaux, the artists sisters and administrators of the Jean-Michel Basquiat estate.

35 000 €



In Undiscovered Genius, Basquiat continues his exploration of the systems of recognition and erasure that structure Western cultural history. True to his postmodern language, he interweaves words, symbols, and figures in a fragmented composition that functions simultaneously as image, archive, and manifesto.

The title itself operates as a statement: “undiscovered genius” or “unrecognized genius.” Basquiat evokes brilliant figures who have remained on the margins of dominant narratives, particularly within African American history. Here, the artist questions how society elevates certain names while rendering others invisible, despite their major artistic or intellectual contributions.

The work is permeated with references to Mississippi, “slave ships,” and the figure of the “griot” or “bluesman.” These inscriptions are far from anecdotal. They summon the memory of the African diaspora and the birth of the blues, a foundational music of modern American culture. Basquiat establishes a direct link between the legacy of slavery, the oral traditions of African griots, and the emergence of Black American music, raising the question of cultural recognition and historical debt.

As often in his work, text is treated as a pictorial material. Words are repeated, isolated, sometimes crossed out or rewritten, creating a visual rhythm that evokes musical improvisation. This fragmented structure reflects Basquiat’s personal experience within the New York music scene and his deep interest in jazz and blues, where genius emerges precisely through freedom and rupture.

Visually, the central figure oscillates between portrait and symbol. It is not individualized but archetypal: it embodies the Black artist, the visionary creator whose name has not been preserved by official history. In this sense, Basquiat is not only speaking about the past—he is also speaking about himself, a young Black artist navigating a predominantly white art market, aware of the fragility of recognition and the violence of exclusionary mechanisms.

With Undiscovered Genius, Basquiat creates a work that is both intimate and political. It functions as a quiet assertion: a call to restore memory, to acknowledge a legacy, and to fully see a genius that no longer asks to be discovered, but to be recognized.



Jean-Michel Basquiat (1960 - 1988)
Dog Leg Study, 1982-83/2019 
Hand pulled limited edition screenprint
22 x 30 in. (55.9 x 76.2 cm)

Edition of 20 AP

Authenticated by the Estate of Jean-Michel Basquiat

Stamped and signed by Lisane Basquiat and Jeanine Heriveaux, the artists sisters and administrators of the Jean-Michel Basquiat estate.
 

35 000 €



In Dog Leg Study, Basquiat explores anatomy as a symbolic language. At first glance, the motif appears simple: a dog’s leg, an isolated fragment of an absent body. Yet, as often in his work, this fragmentation opens up a much broader field of interpretation.

Here, Basquiat subverts the very notion of the “study,” a term traditionally associated with academic training in drawing and the mastery of anatomy inherited from the Renaissance.

By isolating an animal limb, he engages with the codes of art history while simultaneously overturning them. The study is no longer a demonstration of classical virtuosity, but a raw, nervous, almost instinctive fragment.

Animals occupy a recurring place in Basquiat’s work. They are never decorative. They evoke instinct, survival, and the latent violence of social relations. The dog’s leg may suggest loyalty as much as domestication, vulnerability as much as strength. By detaching it from the body, Basquiat introduces a tension: what remains of identity when it is reduced to a sign, to a fragment?

The line is deliberately energetic, almost primitive. It asserts a gestural immediacy that recalls graffiti and the spontaneity of the street. This economy of means gives the image a raw power. The empty space surrounding the motif heightens its isolation, as if the artist were placing a detail under a microscope to reveal its symbolic charge.

Within the context of the portfolio, Dog Leg Study subtly dialogues with Undiscovered Genius and Wolf Sausage. Where the other works explicitly invoke language, history, and memory, this one operates through condensation. It reduces the figure to its essentials, almost to the bone, emphasizing the organic and instinctive dimension of Basquiat’s practice.

Thus, beneath the appearance of a simple anatomical fragment, Dog Leg Study explores notions of identity, condition, and survival. The work reminds us that, in Basquiat’s art, even the most minimal detail can carry a broader reflection on human nature and structures of power.



Jean-Michel Basquiat (1960 - 1988)
Wolf Sausage, 1982-83/2019

Screenprint on Paper
22 x 30 1/2 in. (55.9 x 76.2 cm)

Edition of 20 AP

Authenticated by the Estate of Jean-Michel Basquiat

Stamped and signed by Lisane Basquiat and Jeanine Heriveaux, the artists sisters and administrators of the Jean-Michel Basquiat estate.
 
35 000 €



Basquiat adopts a distinctly postmodern approach by incorporating a wide range of cultural symbols into his works, challenging the traditional boundaries between popular media and fine art. In other words, he blends elements drawn from mass culture, usually seen as separate from classical artistic forms, creating a constellation of symbols that are not immediately easy to decipher, such as everyday sausages, the “big bad wolf,” and American currency.

He plays here with the ambiguity of visual signs. A list of edible ingredients such as “sausage,” “procciuotto,” and “spinach,” along with comically exaggerated red sausage links, merges with simplified advertising imagery and more abstract artistic forms. By breaking down distinctions between cultural genres, Basquiat structures words in a way that allows a mundane list of everyday ingredients to take on a rhythmic quality, drawing from his experience as a musician and DJ during the emergence of the New York hip-hop scene.

Basquiat often drew inspiration from comic strips, and this menacing wolf wearing a hat directly references the 1943 short film Dumb Hounded, illustrated by his favorite cartoonist, Tex Avery. During the twentieth century, however, the iconic image of the “big bad wolf” was also popularized through Walt Disney’s Silly Symphony cartoons and the endlessly catchy song “Who’s Afraid of the Big Bad Wolf,” which served both as an upbeat anthem and an unsettling soundtrack to the Great Depression of the 1930s.

He introduces common historical associations between the “big bad wolf” and the devastating economic decline of interwar America. The word “LIBERTY” gleams from the depiction of a 1951 dime. The artist invokes this powerful term as a widely recognized slogan of the American Dream. At the center of the coin appears the profile of Franklin D. Roosevelt, President of the United States during much of the Great Depression, from 1933 to 1945. His likeness is rendered in a distinctly abstract structure, recalling the appropriation of African art within the idioms of Western modernism.

Basquiat draws on this historical chapter to connect the economic dimensions of racial relations in America with the history of art itself. It was Roosevelt who, in 1941, signed Executive Order 8802, banning racial discrimination in defense industries, a crucial precursor to Title VII of the Civil Rights Act, which would come into force decades later and permanently transform the social fabric of the nation. By bringing this historical precedent into a contemporary urban context, Basquiat questions the enduring presence of institutionalized racism in America.

Born to Puerto Rican and Haitian parents, Basquiat embodied the determination, intelligence, and talent he believed were necessary to earn recognition not only within a largely white art world, but also within the historically “white” tradition of Western art. By weaving a nuanced body of work infused with a deep awareness of the cultural legacies that shaped his position as an African American artist, Basquiat secured a unique and lasting place in art history, remaining one of its most radical and visionary painters.



Banksy (1974)

Choose Your Weapon - Magenta, 2010

Screenprint on paper

27 ½ x 27 ½ inches (70 x 70 cm)

Edition of 25

Signed in red crayon

Pest Control COA

65 000 €

In his iconic work Choose Your Weapon, Banksy juxtaposes an anonymous urban figure, face partially concealed by a scarf as a symbol of street resistance, with Keith Haring’s famous Barking Dog.

By placing this iconic dog on a leash, Banksy achieves a striking conceptual gesture: he transforms a historic symbol of street art into a communicative “weapon.” It is no longer just a drawing, but a cultural shield.

This lineage is not merely aesthetic, it is strategic. Like Haring, who used the New York subway as a laboratory, or Warhol, who turned his studio into a factory, Banksy appropriates the tools of mass production to disseminate his ideas. By positioning himself within this lineage of visual “guerrillas,” he demonstrates that the image remains, now more than ever, one of the most powerful tools for questioning the structures of our society.



Banksy (1974)

Soup Can (Original Colourway), 2005

Screenprint on paper

19 7/10 × 13 4/5 in ( 50 × 35 cm )

Edition of 250

Pest Control COA

30 000 €

Banksy (1974)

Soup can Sage green/Lime/Cherry, 2005

Screenprint on paper

19 7/10 × 13 4/5 in ( 50 × 35 cm )

Edition of 10

Number on the left

Signed

Pest Control COA

40 000 €



Banksy (1974)

Soup can Mint/Orange/Brown, 2005

Screenprint on paper

19 7/10 × 13 4/5 in ( 50 × 35 cm )

Edition of 10

Number on the right

Signed

Pest Control COA

40 000 €

Through his own Soup Cans, Banksy reinterprets Warhol’s legacy to address the issues of the twenty-first century. Where Warhol celebrated the rise of mass consumption, Banksy uses the repetition of the soup can to highlight the standardization of our lives and the dominance of major brands over public space. By sometimes replacing classic flavors with low-cost products, such as Tesco Value Soup, he transforms the icon of industrial glamour into a sharp critique of precarity and austerity.

Untitled (The Ledge), 2002–2005
Monsters series

“Drawing from photographs is a way of reclaiming the images that haunt us. By drawing them, I can not only look at them, but make them feel as if they come from me.”

Robert Longo, interview with artnet

A major figure of the New York art scene since the 1980s, Robert Longo explores an iconography of power, tension, and latent violence. His work questions how images shape our collective perception, whether political, media-driven, or cultural.

The Ledge belongs to the Monsters series (early 2000s), a body of work devoted to monumental waves, isolated from any human presence. Here, the sea is no longer a landscape; it becomes the central subject, an autonomous entity and a direct metaphor for power.

Based on a reworked photographic image, the piece is translated by Longo into a singular drawing of extreme precision, later produced, as here, as a pigment print in an edition of 30. The stark black and white intensifies the drama of the scene.

The absence of color focuses attention on texture and movement. The wave, frozen at the height of its motion, appears suspended at a critical point between rising and collapse.

In Longo’s work, technical mastery is absolute. The drawing is controlled, meticulous, almost obsessive, yet the subject represents an uncontrollable force. This tension between control and chaos is one of the fundamental axes of his practice. The artist’s hand attempts to master what is inherently uncontainable in nature.

The title of the series, Monsters, is revealing: the monster here is a force. The wave embodies a power that exceeds humanity, a primitive energy that is both fascinating and destructive.

In the context of the early 2000s, marked by geopolitical upheavals and a growing awareness of natural disasters, these images take on a particular resonance. They can be read as metaphors for global political tensions, uncontrollable economic forces, or more broadly, the fragility of human beings in the face of systems that surpass them.

shelby and sandy (1983 & 1992)

beach, 2023

92cm x 92cm x 5.7cm

acrylic and ink on canvas with high gloss varnish

Signed

16 000 €

The inspiration for Californian brothers Shelby and Sandy is deeply rooted in the cultural references of their childhood. Their aesthetic, at times whimsical, integrates elements of minimalism, surrealism, and classic animation. Much like the artists themselves, their Los Angeles studio vibrates with a bountiful creative energy that is simultaneously joyful, nostalgic, innovative, and ultra-perfectionist. They work on a variety of surfaces and create their own custom frames, colors, and varnishes to achieve impeccable lines and perfectly matte fields of color.

Shelby and Sandy draw inspiration from everyday people, their favorite childhood cartoons, cult films, and iconic athletes. Their approach is firmly grounded in their upbringing and shared experiences, with the primary goal of evoking feelings of joy and happiness in the viewer. Although their work can be categorized as Pop Art or Neo-Pop Art, they prefer to use these terms to signify "popular art" rather than referring to a specific movement or genre. Indeed, they strive to create art that is accessible to people of all ages and backgrounds, finding fulfillment when their work resonates with a broad audience, from children to grandparents and everyone in between.

Shelby and Sandy were born in 1983 and 1992 in Irvine, California, and they currently live and work in Los Angeles. The two brothers grew up in an environment conducive to creativity and self-expression within an eclectic and imaginative setting. They were encouraged by an artist mother who was very generous with art supplies, contributing significantly to their creative awakening.

The eldest, Shelby, left their hometown of Irvine to attend the University of Southern California (USC), where he studied political science and film while continuing to paint in his spare time. Years later, Sandy enrolled at the same university to earn a degree in Fine Arts, specializing in painting and design. Being in the same city, the two brothers began spending a great deal of time together until their collaboration became official. The rest is history.

Over the years, the artists have carefully curated their own color database, assembling a collection of approximately 100 frequently used hues. As they explain: "We like to think of our colors like a box of Crayola crayons. Our goal is for the shade of red in one of our paintings to be identical to the one in another piece. By using a consistent palette of vibrant tints, we maintain a sense of cohesion in our work, which allows us to effectively communicate the overall feeling we wish to convey: happiness."

Fenx (1974)

ChatgPythies, 2025

Acrylique sur toile de lin

130 x 195 cm

Signée

Unique

16 000 €

ChatgPythies: Oracle of the Digital Age

With ChatgPythies, Fenx presents the most minimalist work of the exhibition. Against an azure background of magnetic intensity, evoking both his iconic Californian pools and an infinite marine horizon, two female figures face each other within a sidereal void.

A Play of Fertile Ambiguities

The work toys with our perceptions. These two women, possessing the characteristic grace of Fenx’s aesthetic, seem held captive by an invisible mirror. Their hands draw near without ever touching, reinterpreting the tension of Michelangelo’s The Creation of Adam with delicate poise. A halo of smoke floats above them, recalling the ethereal smokers from his previous series (or Pax Americana), while their virtual reality headsets blur into diving masks, immersing us in a world between worlds.

Technology as the New Sacred

These contemporary "Pythias" no longer observe reality: they receive. They do not prophesy: they interpret the flow. The headset is no longer a tool, but a technological veil, the modern equivalent of the sacred mist that enveloped Greek prophetesses before a revelation.

Immersed in light, they become mediators of a digital divine, a diffuse knowledge circulating through networks like the ancient breath that once inspired oracles.

Here, Fenx questions our relationship with artificial intelligence: those new presences to which we now entrust our doubts, our vulnerabilities, and our intimate impulses, seeking in the algorithm a guidance once reserved for prayer or confession.



A Spirituality of the Flow

In this zone of uncertainty between flesh and data, the work confronts us with a new form of the sacred. Fenx suggests that artificial light is becoming a spiritual substance. For him, truth may no longer reside in traditional religious symbols, but in the vibrations and imperfections of the digital realm. ChatgPythies does not propose a new belief, but poses a question: what if the 21st-century oracle nestled precisely there, at the meeting point of ancient mystery and artificial intelligence?

Invader (1969)
Oh...Alright, 2011 
Embossed screenprint
22 3/4 x 23 1/8 in. (58 x 59 cm)

Edition of 150
Signed and numbered on recto

18 000 €

The Pixel as the New Grid

With Oh...Alright, Invader creates a bold bridge between the golden age of Pop Art and the geek culture of the 1980s. By appropriating one of Roy Lichtenstein’s most famous compositions, he does more than offer a mere tribute; he performs a software update on Art History itself. Where Lichtenstein once imitated the pointillist dots of comic books to critique mechanical reproduction, Invader deconstructs the image into a mosaic of pixels. This embossed silkscreen, executed with surgical precision, bears witness to his obsession with low-res aesthetics. The heroine’s face, once smooth and melodramatic, is transformed here into an architecture of elementary squares.

By bringing video game aesthetics into public spaces and onto paper, Invader proves that the pixel has become the Ben-Day dot of the 21st century. It is a fundamental unit that infiltrates everywhere, from the walls of global metropolises to the very heart of our screens, ultimately redefining our visual perception.

Invader (1969)

Boys Don’t Cry, 2009

Screen print in colours

27.5 x 27.5 in. (70 x 70 cm)

Edition of 40

Signed, dated and numbered by artist in pencil on the front

6 500 €

The Pixel’s Melody: Boys Don’t Cry

In this lithograph, Invader appropriates one of the most emblematic album covers in rock history: Boys Don’t Cry by The Cure. This is not a portrait, but rather a geometric translation of that now-cult desert landscape, featuring three palm trees, a distant pyramid, and a minimalist sun. By transposing this surrealist setting into his preferred language of mosaic, Invader achieves a perfect fusion between New Wave melancholy and the rigor of code. What was once a spare illustration becomes an architecture of pixels—a visual signal that our collective memory deciphers instantly despite its decomposition.



Invader proves here that 21st-century Pop Art is, above all, a matter of synthesis. By pixelating this landscape, he transforms a musical memory into a universal digital icon, reminding us that our strongest cultural references are now inseparable from the technological structures that archive them.

Invader (1969)
Sunset (Glow & Blue)/ Phosphorescent, 2018

Silkscreen on paper with embossing
16 1/2 x 16 1/2 in. (41.9 x 41.9 cm)

Edition of 20 AP

 Signed and Numbered

13 000 €

The Light of the Algorithm: Phosphorescent Sunset

With this variation of the Sunset, Invader tackles one of the most classic themes in art history, thrusting it firmly into the era of artificial light. While Warhol had already explored the sunset through his own saturated silkscreens, Invader injects an additional dimension: retinal persistence. The work plays on a striking duality. In daylight, it presents itself as a rigorous architecture of pixels, deconstructing the horizon into a perfect chromatic grid.

However, it is in the darkness that the piece reveals its true secret, as the white transforms into a phosphorescent glow, a radioactive luminescence reminiscent of the light from our screens in the night.

By utilizing these phosphorescent pigments, Invader reminds us that the contemporary image is never truly turned off. This Sunset does not fade away; instead, it transforms into a permanent digital signal, a technological standby that questions our relationship with a nature now filtered, coded, and augmented by artificial light.