The works of our century are mirrors of our situation, produced by some of the most sensitive minds of our time. In the light of our situation we must look at contemporary works of art and, vice versa, in the light of contemporary art we must look at our situation. - Paul Tillich in "Every period has its peculiar image of man" In his final self-portrait, Andy Warhol's gaze is both perplexed and disconcerting. Like the artist, everything in this work is suspended in a fog of mystery. Warhol probably didn't expect that this would be his final reflection on himself, yet it's hard to imagine him treating himself differently even if he had known. Warhol treated everything the same. Cold detachment was as much a trademark of Warhol as Campbell's was of soup. Warhol's coldness has often been read as cynicism, and implied a certain degree of distance, but only out of a perceived need for self-protection. The apparent contradiction of Warhol's Self-Portrait, and indeed of his entire work, is that he expresses himself without revealing anything about himself; he is both alienated and self-alienating. There is hardly a person in America whose life has not been affected, whether they know it or not, by the way Warhol transformed our understanding of our culture. There is certainly no serious artist working today who has not been influenced by Warhol's conversion of the banal world of consumer culture into the sacred realm of art. We see ourselves and our world reflected in the mirror of Warhol's art, but the image is not yet fully in focus. By the time he painted this last Self-Portrait, Warhol had become the most famous artist in the world; but more than a decade later his art remains enigmatic. Warhol began... in the middle of paper...." Just as Christ transformed common bread and wine into the holy sacraments, Warhol transformed everyday images into art. The popularity of Warhol's work is a reflection of our own hunger for such transformation.Like all art, it raises questions: are we hungry enough to accept whatever is offered to us?should we filter Warhol so hungry for something divine that he too easily accepted substitutes for the only thing that would satisfy him? If we consider the disreputable company that Warhol kept, our answer to the last question might be yes. Perhaps Campbell's soup was nothing more than a commercial substitute for a spiritual hunger, but the spiritual sincerity and artistic complexity of his later works suggest that Andy Warhol's faith and art cannot be so easily ignored..