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the works as “Boxes, 1964/Kasser [boxes]/ Private collection.” A reproduction elsewherein the catalogue shows a single 1964 Stable Gallery box, identified as “Brillo-karton1964” and cross-referenced to the catalogue entry. 28In 1992, Hultén organized an expanded version of the Russian exhibition as“Territorium Artis” for the new Kunst–und Austellungshalle der BundesrepublikDeutschland in Bonn. This exhibition, on view from June 19 to September 20, 1992, wasmore ambitious, better funded, and received powerful institutional and political support.For example, in one of several letters in Hultén’s archives from Vernon Walters, theAmerican Ambassador to the Federal Republic of Germany at this time, addressed to thedirectors of major American museums, he wrote: “I understand that Mr. Hultén informedyou of Chancellor Kohl’s personal interest in this project, and I would like to add thatPresident Bush also has expressed his interest in and support of this exhibit.” Installationphotographs indicate that probably all of the 105 Malmö type boxes were exhibited inBonn (fig. 6), although the catalogue reproduces only a 1964 Stable Gallery box, and theentry records the works as “Brillo Boxes 1964/silkscreen on wood/Each: 43,5 x43,5x35,6 cm/ Private collection”—much as they were recorded in the LouisianaMuseum catalogue. Hultén also includes a slightly modified version of the annotationfrom the Leningrad catalogue that relates Warhol’s Brillo boxes to “the idea ofreadymade (Duchamp)”. 29replicas produced in 1990. Copies of wall text and the checklist from the Louisianaexhibition have not been found. In conversation with Neil Printz, when asked if themuseum would have identified the Brillo boxes as replicas on the wall text and checklist,Nilsson replied that it was unlikely (May 5, 2009).28 Andy Warhol (Humlebaek: Louisiana Museum, 1990), pp. 6, 73.29 Pontus Hultén, Territorium Artis, (Bonn: Kunst–und Austellungshalle derBundesrepublik Deutschland and Verlag Gerd Hatje, 1992), pp. 358-59, cat. no. 184. The16
Thus, on three occasions between 1990 and 1992, Malmö type boxes, produced in1990, were publically exhibited: approximately ten in Leningrad in 1990; forty-five inDenmark from 1990 to 1991; and all 105 in Bonn in 1992. The production of the Malmötype boxes for the exhibitions in Leningrad and Bonn may have been a logical extensionof curatorial practices embraced by Hultén. However, the Malmö type boxes were notacknowledged as having been produced in 1990, instead they were conflated with the1964 Stable Gallery boxes; nor was the Estate of Andy Warhol ever notified of theexistence of the Malmö type boxes. This violated the very protocols that Hultén and theModerna Museet had put in place with respect to the replicas of the work of Duchampand Tatlin. Moreover, the confusion of Warhol’s 1964 Stable Gallery box sculptures withready-made Brillo Soap Pads cartons and the absence of transparent and rigorousguidelines relating to the production and exhibition of copies of Warhol’s work from1990 to 1992 created the conditions that allowed subsequent distortions of fact to goundetected for many years, until after Hultén’s death in 2006.(3) Subsequent events, 1994-2007full statement reads: “The idea of readymade [Hultén’s emphasis] (Duchamp) is putfurther here. The artist has in a totally resolute way chosen the most banal massfabricatedobject which he then accumulated with a hallucinating carelessness, obtaininga monumental effect of self-interrogation.” The same page also cites a 1977 interviewwith Warhol: “I did all the [Campbell’s soup] cans in a row on a canvas, and then I got abox, and then it looked funny because it didn’t look real. I have one of the boxes here[now in the collection of the Andy Warhol Museum, Pittsburgh]. I did the cans on thebox, but it came out looking funny. I had the boxes already made up. They were brownand looked just like boxes, so I thought it would be great just to do an ordinary box.” Themeasurements recorded in Bonn are closer to those of the 1964 Stable Gallery boxes thanthe Malmö type boxes, which Lars Byström of the Moderna Museet recorded inNovember 2007 as 44.4 x 44.2 x 36.2 cm.17
Page 2 and 3: The Stockholm exhibition was prepar
Page 4 and 5: Stockholm exhibition differed from
Page 6 and 7: the Moderna Museet, an entry for
Page 8 and 9: museum. He then donated these boxes
Page 10 and 11: Moderna Museet exhibition. 14 Hult
Page 12 and 13: oller; the surfaces of the Stockhol
Page 14 and 15: ecalled:Björn Springfeldt, Directo
Page 18 and 19: In December 1994, the Estate of And
Page 20 and 21: works, although no account of why t
Page 22 and 23: the Catalogue Raisonné editors of
Page 24 and 25: on these allegations, at the end of
Page 26 and 27: presented to the Estate for authent

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