If there's any single force behind the wild range of Warhol's art, it is his hatred of the already done.

Philip Pearlstein remembered that, more than anyone else in their clique, the young Warhol believed "that you should always try to find something new." This idea, so central to Warhol's entire career, wasn't something he was born with; we can track him learning it as a student aesthete in Pittsburgh. A teacher of his at Tech is supposed to have laid down the law to him: "You have got to do things the way you want them, and be damned with what I think, be damned with what anybody else around you thinks. Go do it the way you see it, to please yourself, or you'll never amount to anything."

Warhol, lake Gopnik, page 65

The completeness of nature displays itself to another sense in a similar way. Let the eye be closed, let the sense of hearing be excited, and from the lightest breath to the wildest din, from the simplest sound to the highest harmony, from the most vehement and impassioned cry to the gentlest word of reason, still it is Nature that speaks and manifests her presence, her power, her pervading life and the vastness of her relations; so that a blind man to whom the infinite visible is denied, can still comprehend an infinite vitality by means of another organ.

And thus as we descend the scale of being, Nature speaks to other senses—to known, mis-understood, and unknown senses: so speaks she with herself and to us in a thousand modes. To the attentive observer she is nowhere dead nor silent; she has even a secret agent in inflexible matter, in a metal, the smallest portions of which tell us what is passing in the entire mass. However manifold, complicated, and unintelligible this language may often seem to us, yet its elements remain ever the same.

Theory of Colours, Johann Wolfgang Goethe,