The Luxembourg Museum in Paris is currently hosting an exhibition dedicated to the American artist Andy Warhol, focusing on his skills as a draftsman and the importance of hand-drawn gestures in his work. The exhibition, titled Andy Warhol. The Line and the Image, challenges the popular belief that Warhol was solely a machine-like artist who relied on mechanical reproduction. Instead, it reveals a more nuanced side of Warhol, highlighting his early training in applied arts and his long career as an illustrator, which never fully disappeared from his practice. The exhibition includes some of Warhol's most famous works, such as his Campbell soup cans, Brillo soap boxes, and vibrant silkscreen prints of celebrities like Marilyn Monroe, Elizabeth Taylor, and Elvis Presley. These pieces initially appear to reflect the industrial mass production that Warhol famously associated with his art, as seen in his 1963 statement: "I would like to be a machine." However, this exhibition argues that Warhol's work was more complex than that, blending mechanical reproduction with the uniqueness of hand-drawn elements. Curator Alain Cueff explains that focusing on Warhol's drawing skills was a deliberate choice, as it offers a new perspective on an artist who is often seen as rejecting traditional artistic gestures. The exhibition shows that Warhol, despite his association with mass production, was also deeply involved in the manual process of drawing, using pencils and brushes throughout his career. This challenges the idea that an artist focused on standardization could also embrace the unpredictability of hand-drawn art. The exhibition also draws on the ideas of philosophers such as Leibniz and Arthur Danto to explore how Warhol's work reveals differences and singularities through its mechanical processes. Additionally, it examines the connection between Warhol and the 9th art, a term referring to comics, with examples like Picasso's use of comic book techniques in his paintings and his involvement with the comic Songe et mensonge de Franco (1937).