Question: What was the date and time of Warhol's death in New York City?
About the article "Andy Warhol", section "Death".

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He began exhibiting his work during the 1950s.
He held exhibitions at the Hugo Gallery, and the Bodley Gallery in New York City and in California his first West Coast gallery exhibition was on July 9, 1962, in the Ferus Gallery of Los Angeles.
The exhibition marked his West Coast debut of pop art.
Andy Warhol's first New York solo pop art exhibition was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962.
The exhibit included the works "Marilyn Diptych", "100 Soup Cans", "100 Coke Bottles," and "100 Dollar Bills".
At the Stable Gallery exhibit, the artist met for the first time poet John Giorno who would star in Warhol's first film, "Sleep", in 1963.
It was during the 1960s that Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, Campbell's Soup Cans, Coca-Cola bottles, celebrities such as Marilyn Monroe, Elvis Presley, Marlon Brando, Troy Donahue, Muhammad Ali, and Elizabeth Taylor, as well as newspaper headlines or photographs of police dogs attacking civil rights protesters.
During these years, he founded his studio, "The Factory" and gathered about him a wide range of artists, writers, musicians, and underground celebrities.
His work became popular and controversial.
Warhol had this to say about Coca Cola:New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism.
Critics were scandalized by Warhol's open embrace of market culture.
This symposium set the tone for Warhol's reception.
Throughout the decade it became increasingly clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.
A pivotal event was the 1964 exhibit "The American Supermarket", a show held in Paul Bianchini's Upper East Side gallery.
The show was presented as a typical U.S. small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts.
Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6.
The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is.
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity.
Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; this was particularly true in the 1960s.
One of the most important collaborators during this period was Gerard Malanga.
Malanga assisted the artist with the production of silkscreens, films, sculpture, and other works at "The Factory," Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway).
Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).
During the 1960s, Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation "Superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling.
These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death.
Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. 
Brown was "prominent in the underground performance world of the 1960s and 70s."
In the summer of 1964, Brown first met Warhol at a benefit for the Living Theatre, the alternative theatre in New York City of which she was a member.
Brown would later be featured in at least two of Warhol's films.
In 1970, she was among a panel of guests who participated in a discussion on the "David Susskind Show" about Warhol's underground film "Trash" (1970).
Also interviewed were other members of Warhol's "Factory".  
Matt Wrbican is an American archivist and authority on the life of the artist Andy Warhol.
Beginning in 1991 in New York City, Wrbican, as the archivist of The Andy Warhol Museum in Pittsburgh, Pennsylvania, United States, has been unpacking, processing, preserving, and documenting an estimated 500,000 objects in Warhol's Time Capsules.  
Warhol was an avid collector.
His friends referred to his numerous collections, which filled not only his four-story townhouse, but also a nearby storage unit, as "Andy's Stuff."
The true extent of his collections was not discovered until after his death, when the Andy Warhol Museum in Pittsburgh took in 641 boxes of his "Stuff.
"Warhol's collections included airplane menus, unpaid invoices, pizza dough, pornographic pulp novels, newspapers, stamps, supermarket flyers, and cookie jars, among other eccentricities.
One of his main collections was his wigs.
Warhol owned over forty and felt very protective of his hairpieces which were sewn by a New York wig-maker from hair imported from Italy.
In 1985 a girl snatched Warhol's wig off his head.
It was later discovered in Warhol's diary entry for that day that he wrote "I don't know what held me back from pushing her over the balcony.
"Another item found in Warhol's boxes at the museum in Pittsburgh was a mummified human foot from Ancient Egypt.
The curator of anthropology at Carnegie Museum of Natural History felt that Warhol most likely found it at a flea market. 
After several years as a reluctant debutante and a failed marriage, Brigid Berlin met Andy Warhol in 1964 and quickly became a central member of his entourage.
After moving to Hotel Chelsea, she took on the nickname Brigid Polk because of her habit of giving out 'pokes', injections of Vitamin B and amphetamines.
These injections were readily available through the many 'Doctor Feelgoods' in New York and perfectly legal.
Berlin appeared in several of Warhol's films, including "Chelsea Girls" (1966), in which she is seen injecting herself while performing a monologue, and "Ciao!
Manhattan" (1972), which starred Edie Sedgwick.
Decades later, she appeared in minor parts in two John Waters' films, "Serial Mom" (1994) and "Pecker" (1998).
"Pie in the Sky: The Brigid Berlin Story" (2000) is a documentary in which she tells her life story in intimate detail and breaks her diet by consuming an entire meal of key lime pies.
She was known for her obsessive taping and photographing of everyday life.
Selections from these tapes were later compiled to form the play "Andy Warhol's Pork".
Other tapes made by her were the basis for The Velvet Underground's first live album, "Live at Max's Kansas City" (recorded 1970, released 1972).
Berlin was complicit in one of Warhol's most infamous pranks when, in 1969, Warhol announced that all of his paintings were the work of Berlin.
Brigid enthusiastically followed this line when interviewed by "Time".
The prank led to a drop in the value of Warhol's work and both parties eventually retracted their statements.
The question of authorship looms large in valuing Warhol's paintings to this day.
In 1975, Brigid Berlin began work as a permanent employee for Andy Warhol's "Interview" magazine, a position that she held until well after Warhol's death.
Berlin would transcribe interviews and knit and needlepoint under the desk.
Patricia Hearst (a close friend of Berlin's who began work at "Interview" in 1988) would observe "On my first day at work, I noticed two small pugs who seemed to have the run of the castle.
They belonged to a woman who sat behind the front desk every day from 9:00 to 5:00, but who never seemed to answer the phone.
Instead, she compulsively knitted, ate bags of candy and tended lovingly to the dogs."