The vast array of sculptural work made by Andy Warhol between 1954 and 1987 reveals a major, but overlooked aspect of his oeuvre. Thoughtfully identifies the ways in which many of Warhol's three-dimensional works repeatedly engaged with notions of waste, decay, excess, valuelessness, and recycling. These are works, Evans suggests, that might provide 'an alternative to precisely the structures of value that constrict the aesthetic possibilities of our encounters with objects'.