“I like money on the wall. Say you were going to buy a… painting. I think you should take that money, tie it up, and hang it on the wall. Then when someone visited you the first thing they would see is money on the wall.”
(Andy Warhol, The Philosophy of Andy Warhol, New York and London 1975, p. 180).

ANDY WARHOL WITH A DOLLAR SIGN PAINTING, NEW YORK 1982
Artwork: © 2021 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC. / LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

Executed nearly two decades after the first of Warhol's money paintings, the single Dollar Sign series of the early 1980s provides the ultimate expression of his lifelong fascination with consumerism. Like Warhol's first Pop paintings which examined the relationship between big business and the common man through enlarged icons of consumerism like Coca Cola and Campbell's Soup, Warhol here similarly takes the currency of this relationship and presents it with all the brazen euphoria synonymous with that decade. No longer taking the entire bill as their subject but instead focusing upon the unabashed icon of money – the isolated '$' – Warhol hones in on arguably the biggest brand of all. One of the most recognisable logos anywhere in the world, the '$' sign is simultaneously a symbol of the American Dream and an international denominator for wealth. Isolated on a rich lavender ground, the currency symbol takes on an almost totemic status.

Pulsating through the saturated layer of pure colour, off-set multiple impressions of the '$' motif in shades of red, orange, green and gold appear to throb against the background. Filling the entire height of the small-scale canvas, this oversized symbol of wealth is rendered with the immaculate claritys of Warhol's perfected silkscreen technique. Money became an obsession for Warhol, and was perhaps his personal biography that drew him to the subject; the artist’s childhood was spent in depression-era Pittsburgh before fleeing to New York City.

"The 80s witnessed a marriage of art and money completely Warholian. As both a participant in and an observer of this phenomenon, Warhol aptly noted that 'big t.mes art is big t.mes money.' That Warhol so presciently seized on the symbol for money at that point in t.mes is but one more signal of Warhol's keen sense for what makes America tick."
(Exh. Cat., New York, Christophe Van de Weghe, Andy Warhol: Dollar Signs, September – November 2004, n.p.)

A playful and colorful distillation of Warhol’s core artistic concerns, Dollar Sign mirrors the artist’s own transformation into an icon of contemporary art and international commercial success. At a t.mes when art was still perceived as an arena for intellectual exclusivity, beyond the vulgar realm of monetary value, Warhol’s deliberate depiction of an instantly recognizable symbol of mass culture – the American dollar – seemed to openly celebrate and embrace consumerism and pop culture. Like his Marilyn and Elvis paintings, Warhol's dollar paintings are all about desire. Within a society immersed in the pursuit of wealth, his art had become an acquisition that conferred status on its collects or. It both intrigued and amused the American artist that his art possesses powers similar to money, as it is capable of stimulating desire and imagination simultaneously.