Warhol to be kind. He knew I was a fan, and he knew how to work with that. In June 1986 he took some Polaroids of me and used them as the basis for a couple of portrait drawings. I enjoyed his company, and always had the impression that he was incredibly perceptive. On the other hand, having experienced the nervous energy that characterized Warhol’s associates and his realm, I have no difficulty believing the bitter complaints of Mark Matousek, who worked grueling hours as an editor at Interview magazine in the 1980s. In a memoir published in 2000 Matousek described Warhol as “an unpleasable boss, who hovered ghostlike in the background, lobbing complaints through his bad cops, grumbling behind his frosty mask, never once saying good workthat help?

AW: Actually it was the camera that made everybody look good. The camera I use for the portraits takes the wrinkles away from everybody.

In September 1988 the Dia Art Foundation hired me to make a preliminary list of works to be considered as a gift from Warhol’s estate to a proposed museum in Pittsburgh. And in 1989 I was invited to be the first director of the Andy Warhol Museum. As much as I loved the work of this artist I found myself leery about working for a three-party collaboration between Dia, the Carnegie Institute, and the Andy Warhol Foundation for the Visual Arts. Early in the discussions I asked why the museum had to be in Pittsburgh, and was told that Warhol’s hometown would always love