Warhol's Race Riots occupy a singular position within the artist's body of work. While they constitute an integral part of the seminal Death and Disaster series—a focus that preoccupied Warhol throughout 1963—they are the only pieces in the series that explicitly depict a political event. The source imagery, drawn from a collection of photographs by Charles Moore, published in the May 1963 issue of Life magazine, documenting civil rights demonstrations in Birmingham, Alabama, was initially employed by Warhol in four paintings executed in mid-1963. This motif was later revisited in 1964 in a series of six paintings collectively known as the Little Race Riots.

In William John Kennedy's photograph, Andy Warhol is depicted ostensibly 'wearing' his Little Race Riots. The image was captured merely months subsequent to the debut of Pink Race Riot 1963 during Warhol's 'Death in America' exhibition at the Sonnabend Gallery in Paris, marking his inaugural exhibition on the European continent. Kennedy's portrayal draws attention to a work of profound poignancy: it documents a politically charged action that had appeared in the mass media only weeks before Warhol's initial creation of the Race Riots series. This subject matter distinctly diverges in nature from the more commonplace images of automobile accidents and suicides, which also comprised part of the exhibition.

This portrait of Warhol depicts the artist positioned before the silver foil wallpaper of his Silver Factory. He is shown lifting his sunglasses to reveal his gaze directed outward, engaging directly with the viewer. In this composition, Kennedy captures both Warhol as an artist and as an individual within the frame. By meticulously depicting Warhol holding his self-portrait alongside his Race Riots painting, Kennedy emphasises Warhol’s candid gesture, creating a nuanced interplay whereby the artist is visually intersected with his own work.