Question: When did Warhol begin showing his work?
About the article "Andy Warhol", section "1960s".

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Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was "25 Cats Name Sam and One Blue Pussy", printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs.
The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes.
Most of these were given by Warhol as gifts to clients and friends.
Copy No.
4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987 and the original was auctioned in May 2006 for US $35,000 by Doyle New York.
Other self-published books by Warhol include:  "A Gold Book"  "Wild Raspberries"  "Holy Cats" After gaining fame, Warhol "wrote" several books that were commercially published:  "a, A Novel" (1968, ISBN 0-8021-3553-6) is a literal transcription—containing spelling errors and phonetically written background noise and mumbling—of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.
"The Philosophy of Andy Warhol (From A to B & Back Again)" (1975, ISBN 0-15-671720-4)—according to Pat Hackett's introduction to "The Andy Warhol Diaries", Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her.
Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former "Interview" magazine editor Bob Colacello.  ""
(1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the 1960s and the role of pop art.
"The Andy Warhol Diaries" (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations.
Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.
Warhol created the fashion magazine "Interview" that is still published today.
The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces. 
"Taylor Mead's Ass" (1964) is a film by Andy Warhol featuring Taylor Mead, consisting entirely of a shot of Mead's buttocks, and filmed at The Factory.
According to Watson's "Factory Made: Warhol and the Sixties", Taylor Mead had achieved a degree of fame that "inspired a backlash."
One example was a letter to the editors at "The Village Voice" in August 1964 which complained about "films focusing on Taylor Mead's ass for two hours."
Mead replied in a letter to the publication that no such film was found in the archives, but "we are rectifying this undersight."
Two days later, Warhol shot the "sixty-minute opus that consisted entirely of Taylor Mead's Ass," during which Mead first exhibits a variety of movement, then "appears" to "shove a variety of objects up his ass."
The film was Mead's last for Warhol "for more than three years", at the end of 1964, "Mead felt betrayed by Warhol for not showing the film.
"The film was described as "seventy-six seriocomic minutes of this poet/actor's buttocks absorbing light, attention, debris" by Wayne Koestenbaum, in "Art Forum".
In his book, "Andy Warhol", Koestenbaum writes "Staring at his cleft moon for 76 minutes, I begin to understand its abstractions: high-contrast lighting conscripts the ass into being a figure for whiteness itself, particularly when the ass merges with the blank leader at each reel's end.
The buttocks, seen in isolation, seem explicitly double: two cheeks, divided in the centre by a dark line.
The bottom's double structure recalls Andy's two-paneled paintings .
.
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"In the 2006 film "Idiocracy", a theatrical film from the year 2505 is depicted called "Ass" which, like "Taylor Mead's Ass", consists of a pair of buttocks for 90 minutes. 
In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.
In late 1961, he learned the process of silkscreening from Floriano Vecchi, who had run the Tiber Press since 1953.
Though the process generally begins with a stencil drawing, it often evolves from a blown up photograph which is then transferred with glue onto silk.
In either case, one needs to produce a glue-based version of a positive two-dimensional image (positive means that open spaces are left where the paint will appear).
Usually, the ink is rolled across the medium so that it passes through the silk and not the glue.
Campbell's Soup cans were among Warhol's first silkscreen productions; the first were U.S. dollar bills.
The pieces were made from stencils; one for each color.
Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell's Soup cans had been produced.
Although Warhol had produced silkscreens of comic strips and of other pop art subjects, he supposedly relegated himself to soup cans as a subject at the time to avoid competing with the more finished style of comics by Roy Lichtenstein.
In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and James Rosenquist, that will be very personal, that won't look like I'm doing exactly what they're doing."
In February 1962, Lichtenstein displayed at a sold-out exhibition of cartoon pictures at Leo Castelli's eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.
In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's, although Warhol's and Lichtenstein's comic artwork differed in subject and techniques (e.g., Warhol's comic-strip figures were humorous pop culture caricatures such as Popeye, while Lichtenstein's were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).
Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Tomato Juice Box, 1964 (pictured above, left), and Brillo Soap Boxes.
He would again exhibit Warhol's work in 1966.
Lichtenstein's 1962 show was quickly followed by Wayne Thiebaud's April 17, 1962 one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.
Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.
In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and Robert Indiana, but all three were insulted by this proposition.
Irving Blum was the first dealer to show Warhol's soup can paintings.
Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a May 11, 1962 "Time Magazine" article "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened "200 One Dollar Bills"), along with Lichtenstein, Rosenquist, and Wayne Thiebaud.
Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the mass media.
Blum saw dozens of Campbell's Soup can variations, including a grid of "One-Hundred Soup Cans" that day.
Blum was shocked that Warhol had no gallery arrangement and offered him a July show at the Ferus Gallery in Los Angeles.
This would be Warhol's first one man show of his pop art.
Warhol was assured by Blum that the newly founded "Artforum magazine", which had an office above the gallery, would cover the show.
Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of pop art.
Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962.
The exhibit included the works "Marilyn Diptych", "Green Coca-Cola Bottles", and "Campbell's Soup Cans". 
Andy Warhol commented on mainstream America through his art while disregarding its conservative social views.
Almost all his work filmed at the Factory featured nudity, graphic sexuality, drug use, same-sex relations and transgender characters in much greater proportion to what was being shown in mainstream cinema.
As his work was considered socially unacceptable, and often offensive, movie theaters showing his underground films were sometimes raided and the staff arrested for obscenity.
By making the films, Warhol created a sexually lenient environment at the Factory for the "happenings" staged there, which included fake weddings between drag queens, porn film rentals, and vulgar plays.
What was called free love took place in the studio, as sexuality in the 1960s was becoming more open and embraced as a high ideal.
Warhol used footage of sexual acts between his friends in his work.
Holly Woodlawn and Jackie Curtis were noted drag queens who were part of the Factory group, as was transgender Candy Darling.
Andy Warhol frequently used these women and other sexual non-conformists in his films, plays, and events.
Because of the constant drug use and the presence of sexually liberal artists and radicals, drugged orgies were a frequent happening at the Factory.
Andy met Ondine at an orgy in 1962.
Ondine said, "I was at an orgy, and was, ah, this great presence in the back of the room.
And this orgy was run by a friend of mine, and, so, I said to this person, 'Would you please mind throwing that thing [Warhol out of here?'
And that thing was thrown out of there, and when he came up to me the next time, he said to me, 'Nobody has ever thrown me out of a party.'
He said, 'You know?
Don't you know who I am?'
And I said, 'Well, I don't give a good flying fuck who you are.
You just weren't there.
You weren't involved...'" 
Billy Name, (born William Linich, February 22, 1940 in Poughkeepsie, New York), is an American photographer, filmmaker and lighting designer.
He was the archivist of the Warhol Factory, from 1964 to 1970.
His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol's work, including his films, paintings and sculpture.
Linich became "Billy Name" among the coterie known as the Warhol Superstars.
He was responsible for "silverizing" Warhol's New York studio, the Factory, where he lived until 1970.
His photographs of the scene at the Warhol Factory and of Warhol himself are important documents of the Pop art era.
In 2001, the United States Postal Service used one of Billy Name's portraits of Warhol when it issued a commemorative stamp of the artist.
Name also has collaborated with Shepard Fairey with his photograph of Nico, singer with the Velvet Underground and part of the social circle of Warhol's Factory.