This essay examines the split function of Andy Warhol’s Time Capsules as both research archive and unrealized art project. It suggests that the Time Capsules epitomize Warhol’s career-long preoccupation with consumption and waste (a concern animating much of his art production), and that the extreme materiality of the 610 Time Capsules is a complicated response to dematerialization in conceptual art practices and the post-war global economy. Finally, the essay reports on his on-site research of the Time Capsules, analyzing contradictions in the Warhol Museum’s maintenance of the project as both art and archive.

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