From 27 September 2026 to 27 June 2027, Herbert Foundation will present ‘All Tomorrow’s Parties’, an exhibition dedicated to the films and printed matter of Andy Warhol (Pittsburgh 1928 - New York 1987). Over the course of the exhibition, a changing selection of films on loan from the Andy Warhol Museum will be presented, with a total of 22 films shown during its run. Presented alongside numerous books, magazines, and posters from the Herbert Foundation archive, the exhibition offers a focused perspective on two often overlooked aspects of Warhol’s multifaceted practice: film and print.
From his early work as a commercial illustrator in the 1950s, Warhol sustained a lifelong engagement with writing and publishing as part of his artistic practice. He became renowned for his screen-printing technique and portraits of cultural figures and everyday objects. In the mid-1960s, Warhol expanded his practice into cinema, producing more than six hundred films.
Across both media, Warhol employs a mode of production described as “carefully unplanned”: recorded conversations are transcribed verbatim into book form, including errors, mirroring his film practice in which the camera is set up and left to run with minimal interference. The end product appears unmediated and even indifferent in its execution, but is, on closer attention, carefully constructed. This methodology is central to the exhibition, revealing how questions of authorship and artistry are played out across both Warhol’s print and film oeuvre.
The workings of the Factory, where the creative process is extended across a network of superstars, assistants, and participants, also complicated the romantic figure of the autonomous artist and its underlying notion of singular authorship. While remaining centered on Warhol’s artistic practice, the exhibition also brings this shared mode of production into focus, situating both the films and printed matter within their broader cultural milieu; a context further evoked by the exhibition’s title, taken from a song by The Velvet Underground, whose debut album he produced.
Exhibition layout
The exhibition, made by Herbert Foundation, opens with a substantial presentation of printed matter introducing Warhol as a writer, bookmaker, and publisher. His printed output documents the prevailing culture while also taking on a distinctly autobiographical character, and extends into various experiments with the book as a format. Warhol also founded his own magazine, Interview Magazine, which initially focused on film.
Following this, the exhibition moves into a series of rooms presenting films, each with their own focus on a distinct aspect of Warhol’s film practice. A selection of Screen Tests and early films defined by stasis and duration, such as Empire and Sleep, is followed by films engaging more explicitly with countercultural life, like Camp and My Hustler. The exhibition concludes with films that appropriate Hollywood narrative tropes and genre formats, including Hedy and Poor Little Rich Girl. The films shown in each room will change several times during the course of the exhibition, inviting repeated visits as different films come into view.
With its emphasis on film and print, ‘All Tomorrow’s Parties’ proposes a reconsideration of Warhol’s practice beyond the established focus on painting. It invites viewers to look again at a body of work that complicates conventional distinctions between media, authorship, and cultural production, and to consider its continued resonance in the present.
Andy Warhol within Herbert Foundation
Annick and Anton Herbert belong to a generation of collectors who, from the 1970s onwards, committed themselves to the radical developments in contemporary art, both nationally and internationally. For the Herberts, collecting was not a matter of acquiring works, but of engaging uncompromisingly with artists and their practices. This commitment resulted in an ensemble of key works and an extensive archive, established as equally essential parts of their collection.
Between 1973 and 2005, the Herberts focused their collection and archive on approximately fifty artists. While Andy Warhol is not represented through artworks in the collection, he occupies a significant position within their archive. The books, posters, and magazines of Warhol held by Herbert Foundation form the starting point for this exhibition. The printed matter is presented in dialogue with a selection of films on loan from the Andy Warhol Museum.
By doing so, the Foundation explores the Collection Imaginaire of Annick and Anton Herbert: a selection of artists, including figures for whom no artworks are held in the collection, considered essential to their intellectual and artistic framework. The Collection Imaginaire offers a broader generational perspective that extends beyond the collection itself. Within this context, Warhol occupies a pivotal position for the Herberts. Their interest lay not in his better-known Pop works, but in his films and printed matter, recognising in these practices a radical approach that challenges conventional notions of the artwork, authorship, and the art world itself.
Practical information
All Tomorrow’s Parties. Films and documents of Andy Warhol
\u200b27 September 2026 - 27 June 2027
\u200bHerbert Foundation
\u200bCoupure Links 627 A
\u200bB-9000 Gent
\u200bhttps://herbertfoundation.org/en
Press Preview
\u200bTuesday 22 September 2026, 11am
\u200b
\u200bPress contact
\u200bMicha Pycke
\u200bClub Paradis
\u200b+32 (0)486 680 070
\u200bmicha@clubparadis.be
Event programme
An extensive public programme accompanies the exhibition, expanding its scope and situating Warhol within a wider context, including a screening programme dedicated to his later feature films with Paul Morrissey, alongside a broader film series that traces affinities and exchanges between Warhol’s film practice and other filmmakers. A symposium will reflect on Warhol’s multifaceted practice across different media and formats, and his role in challenging the boundaries of what could then be understood as visual art.
About Herbert Foundation
Founded by Annick and Anton Herbert, Herbert Foundation is an art foundation in Ghent whose collection and archive focus on a group of international artists active around the years 1968 and 1989.
Since 2013, both the collection and archive have been made accessible to the public through exhibitions, research, publications and a broad programme of events. Located in former industrial buildings in the centre of Ghent, the Foundation comprises more than 4,500 m² of exhibition space.
Selection of images
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