Even in the case of «
enduring objects» which are characterized only
by «survival» through
repetition, the process is an act of conformity
by the «members» and not one imposed upon them.
Here we return to Warhol's
enduring aesthetic — the artist's concerns with death are again suppressed
by that of celebrity, as we leave behind Warhol's obsessive electric chairs, or car crashes, and swiftly return to the artist's fascination with the mass production of the image,
repetition, and commercial cultural value.