His dream was to create his own stage production, Andy Warhol: A No Man Show, where a robotic life-size replica of himself with a "prosthetic resembling his face"[3] could provide interviews and a performance to audiences across the world.
He sat for hours at some high-tech place in the San Fernando Valley where thy made a mold of his face and his hands… there's a whole photo session of it.
[16] Rossi shared with Entertainment Weekly that Warhol cultivated his image in the 1960s during his time at The Factory as an "asexual robot.
"[30] Kelley explores "memory, recollection, horror and anxiety through the juxtaposition of a highly personal collection of objects with realist figurative sculpture.
"[31] Kelley remarks in his essay for the exhibition, "works develop a life of their own by virtue of their existence in the world outside of my control," and "I had intended to rework the original essay for 'The Uncanny,' "Playing with Dead Things," into dialogue form for a theater piece but never got around to it," akin to Warhol's urgings for his robot theater piece with Allen and Sellars.
[32] Kelley also makes reference to Jack Burnham who writes, "the liberalizing tendencies of modern art and the discoveries of archaeology finally compelled historians to consider the aesthetic merits of [substratum figures as a fine art] and an increasing range of other anthropomorphic forms,"[33] and Janine Chasseguet-Smirgel who shares, "lying between life and death, animated and mechanic, hybrid creatures and creatures to which hubris gave birth, they all may be liked to fetishes.