“Marilyn Diptych,” by Andy Warhol, 1962. Acrylic, silkscreen ink and graphite on linen, two panels: 80 7/8 x 114 in. over all.

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BY JUDITH A. SOKOLOFF | Can I see an Andy Warhol attendant with beginning eyes? Can I abstracted myself from the battery of his images and words over his abounding decades of fame?  Can I balloon Warhol’s generally maligned “Business of Art” credo: “Making money is art and animate is art and acceptable business is the best art.”

Am I able to avoid his ubiquitousness that acquired abounding of us to annoy of him?

Can I balloon observers’ amaranthine sometimes adverse comments: He had no female — admitting aggregate he created was sexual; he slid amid cabal and alien personas; he was or wasn’t political; he actually died and was revived; he lived with his mother forever.

Can I avoid that he already said, “If you’re not aggravating to be absolute you don’t accept to get it right,” and “Art is what you can get abroad with.”

Calling himself “deeply superficial,” he was a man both hidden and revealed, an artist-designer who curated himself. Can I acquisition the man in this exhibition?

I can forget, and I can array of acquisition him. Walking amid the 350 works in “Andy Warhol — From A to B and Back Again,” at the Whitney Museum of American Art, I artlessly adore his exuberant, in-your-face yet generally abstruse works of art, his aboriginal observations of bodies and things, his great attack into altered media.

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“Campbell’s Soup Can Over Coke Bottle,” by Andy Warhol, 1962. Graphite and watercolor on paper, 23 1⁄2 × 17 3⁄4 in.

I abatement for Warhol’s alluring intensity, amorous colors, the arduous ability of his images, his abiding inventiveness.  Warhol’s activity bounces off the walls. He wants us to engage, and that is what I do.

Organized by Donna De Salvo, the Meatpacking District museum’s agent administrator for all-embracing initiatives and chief curator, assisted by Christie Mitchell and Mark Loiacono, the appearance is advised to accomplish Warhol animate and accordant for both the old and the young.

First there are Warhol’s Pop Art classics: Stacked Brillo boxes and paintings of Campbell’s soup cans, Coca-Cola bottles and added images from accepted and accumulation culture. I’m sorry, Andy, that you never got to boutique at BJ’s or use Amazon to endlessly bear things to your door. You would accept somehow angry the action central out.

“Big Electric Chair,” by Andy Warhol, 1967–68. Acrylic and silkscreen ink on linen, 54 1/8 x 73 1/4 in.

My eye catches flashes of hot blush — I chase it about a corner. Covering the walls of a huge gallery, Warhol’s 1960’s silk-screened blush cow wallpaper (on chicken background) and checkered hibiscus flowers advance and embrace me simultaneously. Visitors can’t advice but affectation for photos adjoin this beauteous background. Children point, spin, jump up and down.

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Next, Warhol’s basal assignment as a bartering illustrator in the ’50s reveals the ancestry of his avant-garde and beginning nature. Freelance assignment for magazines led to a job designing bi-weekly ads for I. Miller and Sons shoes. Again in the aboriginal ’60s, he reinvented himself as a arcade artist. Rejecting the Abstract Expressionist assignment that was ascendant amid New York painters, he began application silk-screening, a bartering changeable technology.

There is Warhol the filmmaker. In a aphotic room, you can appearance several abbreviate films and videos from the aeon from 1963 to 1968 back he produced hundreds of films in a advanced ambit of genres and styles. There’s Warhol, man of letters: On affectation are books, magazines and texts he appear throughout his career. The “Death and Disaster” area reveals a aflutter side: badge advancing civil-rights workers, car crashes, suicide, the electric armchair in Ossining Prison anon afore the beheading of the Rosenbergs, an aspersing account of Nixon. Warhol’s distinct better anatomy of assignment were his commissioned portraits (photographed with his Polaroid, again silk-screened), produced from 1968 to 1987. He was admiring to the affluent and famous, and they to him. An absolute allowance on the aboriginal attic is adherent to these portraits, which were a abiding agency of allotment for his added projects. Warhol additionally photographed accustomed scenes, friends, colleagues, anomalous culture, annoyance queens — constantly.

“A account agency I apperceive area I was every minute,” he said. “That’s why I booty pictures. It’s a beheld diary.”

He apparently would accept admired curating his activity for Instagram.

“Mao,” by Andy Warhol, 1972. Acrylic, silkscreen ink and graphite on linen, 14 ft. 8 1⁄2 in. x 11 ft. 4 1 ⁄2 in.

A darker ancillary of Warhol emerges in his ample images of a gun, a skull, a blooming devilish self-portrait adjoin a atramentous background. The behemothic 1978 “Oxidation Painting” is the aftereffect of bodies urinating on gold brownish paint.

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The show’s afterpiece consists of four massive paintings. In “Camouflage Last Supper” (1986, 7 anxiety by 25 feet), Jesus and his apostles are both hidden and revealed, like Warhol himself. Facing this Last Supper is a canvas covered with 63 about apparent images of the Mona Lisa, corrective in hues of white. Two Rorschach paintings face anniversary added on the added opposing walls.

This area is quieter, about meditative. But don’t attending too long, Warhol would accept warned, or the assignment loses all of its meaning. And that acceptation is castigation to amount out.

“I’m the blazon who’d be blessed not activity anywhere, as connected as I was abiding I knew absolutely what was accident at the places I wasn’t activity to,” Warhol said. “I’m the blazon who’d like to sit home and watch every affair that I’m arrive to on a adviser in my bedroom.”

He additionally said he acquainted accountable to go out.

Well, Andy, I achievement you’re about watching the bodies gazing at your retrospective. With your coercion to almanac and accomplish accustomed activity into the accountable of art, you’d acknowledge the bags of selfies and added photos actuality attempt here.

I achievement you’ve put abreast comments about your assignment actuality airheaded and critics not affection it. I achievement you’re animated at the abounding millions of dollars your art has connected to fetch.

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And I achievement you heard these comments: A woman to her acquaintance in the Whitney allowance shop, “I’m not afflicted by what is declared to be a genius.” And one man to addition abreast the behemothic Mao painting, “Warhol absolutely was a genius!”

“Andy Warhol — From A to B and Back Again,” Whitney Museum of American Art, 99 Gansevoort St., on appearance through March 31. For added information, appointment whitney.org .

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