The Camouflage paintings were not displayed publicly until six years after Andy Warhol’s death. In September 1993, with the support of the Andy Warhol Foundation, an exhibition titled Andy Warhol Abstrakt premiered at the Kunsthalle in Basel, Switzerland. For the first time, the exhibition showcased large-scale Camouflage paintings ranging in size from 50 x 198 inches to 116 x 420 inches, offering a groundbreaking exploration of Warhol’s experimentation with abstract art.
The Camouflage paintings were deeply personal to Warhol, created without any gallery commission. The series began in 1986 when Warhol asked his art assistant, Jay Shriver - an artist in his own right - about his ongoing projects. Warhol had allowed Shriver to work in his own studio one day a week while assisting him the rest of the time. Shriver mentioned he was making small abstract works by pushing paint through the mesh of military camouflage cloth. Inspired, Warhol envisioned creating paintings based on the distinctive shapes and patterns of camouflage. He sent Shriver to an Army/Navy surplus store near Union Square to purchase fabric. Once the fabric was photographed, Warhol had the mesh pattern removed, leaving just the camouflage shapes.
Warhol explored this concept through a range of Camouflage paintings, from large-scale pieces to smaller works measuring only 9 x 9 inches. Pleased with the results, he decided to produce a limited edition of Camouflage prints. Warhol worked with Rupert Smith, a printer who had assisted with the paintings, to create trial proofs for an edition of 80. A total of 84 unique 38 x 38 - inch proofs were produced, from which Warhol selected eight designs for the final edition. These one-of-a-kind trial proofs remain especially noteworthy within the Camouflage series.
In this series, Warhol fully embraced a pattern traditionally associated with utilitarian and military purposes. However, instead of the natural muted tones of green, brown, and grey typically used for camouflage, he applied bold, psychedelic colors that transformed its identity. Originally designed to conceal, Warhol’s reinterpretation of camouflage rendered it ironically conspicuous. Around the same time, Warhol collaborated with fashion designer Stephen Sprouse, incorporating the vibrant camouflage into a menswear and womenswear collection. The resulting garments, adorned with Warhol’s colorful patterns, made the wearer highly noticeable - undermining camouflage’s original purpose.
The Camouflage series became Warhol’s final print portfolio, published shortly before his death in 1987. He also used the camouflage motif in portraits of others, such as Joseph Beuys, as well as in his own Fright Wig self-portraits and depictions of Beethoven. In these portraits, the camouflage adds a haunting quality, suggesting the figures are fading into the background—a poignant reflection of mortality and a fitting addition to Warhol’s artistic legacy.