Andy Warhol’s Race Riots series reproduces photographs made by white civil rights photographer Charles Moore (1931–2010) on assignment for LIFE magazine in 1963. Moore’s pictures of a young black man menaced by Birmingham, Alabama police officers and dogs document the official assault on non-violent civil rights demonstrators. Warhol cropped and reversed Moore’s central image, intensifying its black-and-white contrast. How does this change the effect of the image? Does it make it more dramatic, or are the choices purely stylistic? Warhol’s own political perspective is an open question: Is he drawing our attention to racial violence in America? Or is the work a dispassionate example of Warhol making art from the news around him?