in the face of the intense debates that American artist Andy Warhol continues to provoke in the cénacles of art history, more than 20 years after his death, this book seeks to question the still preserved capacity of this artistic production to worry and default the discourse trying to account for it. Andy Warhol is still a borderline case for a range of traditional approaches in the history of art, which turn butter against one or other aspect of its production. This was, and is still the case, for iconographic, sociological, formalistic and, more recently, cultural or gender studies. Bearing in mind, therefore, the difficulties which this unique work (and apparently easy to access) continues to face with the discipline of art history, we proposed, as an epistemological hypothesis for this volume, to reflect on this difficulty by thinking it not as an obstacle that would be manageable, but rather as a ruse of Warhol’s own work in the register of its report to the various art speeches. This volume brings together the contributions of a number of American, French or German specialists in Warhol’s work, such as Alain Cueff, Isabelle GRAW, Trevor Fairbrother or Klaus Speidel.