In the 1950s, the profusion of goods, televisions, and other factors led to an explosion of ads. Alert to the captivating power of these images, pop artists set out to shock the world and redefine art. The paragon of this movement was Andy Warhol, who marketed mechanically reproduced images ranging from celebrities to soup cans.

Outwardly he cultivated a passive, cool, eccentric detachment; in reality, he was a workaholic perfectionist who spent long hours making his work appear effortless. His intention was easily achieved—many did not understand his vision and thought it required no effort. "Anyone can paint a soup can and call it art," some said.

But not just "anyone" did; only Warhol, whose sensibility epitomized the notion that the essence of art lies in its conception, did.

Warhol passed another artistic litmus test by encapsulating in tangible form the tenor of his times, a mechanical age of mass production and mass consumption.

Despite the hype and myth-making that continually infused his enterprise, Warhol earned the title of artist.

Which of the following, if true, most seriously undermines the argument?

Question

TheoryPractice · Accepted Answer

Warhol actually saw little or no artistic relevance in the images he transformed into Pop Art.. Because the passage as a whole is about how Warhol did see artistic relevance in his subject matter, as it was emblematic of the world of mass production and mass consumption that he inhabited. Therefore, these objects had relevance and resonance.

Choice A is incorrect because, while Warhol is referred to as the "paragon," or perfect example or model, of the Pop Art movement, there is nothing in the passage to suggest that his art was the best. And, even if others produced work just as good or greater, Warhol would not have been less of an artist.

Choice B should be eliminated because the passage suggests that the conceptualization of art is its essence; therefore, merely conceptualizing the art, instead of carrying it out to the last detail, is still the primary work of the artist.

Choice C is incorrect because it actually strengthens, through restatement, a premise of the argument, which is that Warhol saw the relevance in everyday objects that had already demonstrated their power to captivate audiences.

Choice E is incorrect because it has little relevance to the conclusion that Warhol earned, or deserved, the title of artist; instead of focusing on the essence of Warhol's art, choice E focuses on his popularity.

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