"The relationship between the artist and the muse has always been one of tension—adoration and exploitation, inspiration and ownership. In Don’t Let Marilyn Hear Us, Andy Warhol and Laurie Anderson engage in an unspoken dialogue. Warhol, the mastermind of Pop Art, turned muses into commodities, elevating figures like Marilyn Monroe to divine yet disposable icons. Anderson, an artist who challenges the structures of media and identity, represents the counterpoint—an awareness of the spectacle, a critique within the system.

In today’s hyperreality, where images outlive the people they portray, the line between the authentic and the artificial dissolves. Pop Art was once a commentary on mass production and consumerism; now, it has become the very currency of digital existence. The replication, remixing, and endless circulation of images detach meaning from the original, leaving behind only aesthetic consumption. Warhol’s prophecy has come full circle—fifteen minutes of fame is no longer fleeting, but an infinite loop of visibility without substance. Marilyn Monroe, once Warhol’s most famous muse, is now omnipresent, forever consumed, forever reinvented by those who never knew her. The painting asks: in a world where art, identity, and legacy are endlessly replicated, who owns the image? The artist, the muse, or the consumer? And if Marilyn could hear us, what would she say?"