當六○年代的美國人尚未察覺到週遭環境中廣告影像的力量之際，安迪沃荷對顯著廣告商品影像的選擇，便已經促使人們開始注意這些影像的意義，並諷刺地運用最簡單的方式再現這個消費文化現象。沃荷從大量產製的商品中複製出許多商品影像，諸如：可口可樂瓶、康寶湯罐頭與瑪麗蓮夢露等，藉以突顯當時的象徵性消費行為。有鑑於此，本文將運用布希亞（Jean Baudrillard）象徵性消費的論點，分析沃荷的藝術作品，同時藉由詹明信（Fredric Jameson）對晚期資本主義消費文化的論點，檢視沃荷藝術作品與技法背後的社會文化意涵，以及其作品的影響性。透過分析沃荷的創作與社會環境的關係，本文試圖探究沃荷的藝術創作與當代消費資本主義社會間的關聯。本文的分析焦點將集中在三幅畫作：《綠色可口可樂瓶》（Green Coca-Cola Bottles, 1962）、《一百個康寶湯罐》（100 Campbell’s Soup Cans,1962）與《瑪麗蓮夢露》（Marilyn Monroe, 1962），以及沃荷所拍攝的電影《帝國大廈》（Empire, 1965）的比較研究上，這些作品一致性地反映沃荷早期的創作理念 。

Since Americans in the 1960s were not aware of the power of commercial images surrounded them, Andy Warhol strove to make them aware of the symbolic meaning of these images, and ironically used the simplest method to represent this phenomenon. Warhol duplicated many images of mass production such as Coca-Cola bottles, Campbell’s soup can, and Marilyn Monroe, which represent the behavior of symbolic consumption in that period. This paper attempts to apply Jean Baudrillard’s theory of symbolic consumption to analyze Warhol’s works of art, and also combines Fredric Jameson’s idea of late-capitalism expression to examine the socio-cultural background of Warhol’s works of art and their influences. Through an analysis of the relationship between Warhol’s works and the social environment, the research attempts to explore the relevance between Warhol’s artwork and the contemporary capitalist-consumerism society. The discussion will focus on three examples of paintings including Green Coca-Cola Bottles （1962）, 100 Campbell’s Soup Cans （1962）, and Marilyn Monroe （1962）, and one of his films, Empire （1965）, which represents the same idea at the same period of his early career. This paper will ask why and how Warhol’s works of art reflect the capitalist-consumerism social condition.