Billy Apple's artwork has been exhibited in various locations internationally. These include both solo exhibitions dedicated to his work and group exhibitions featuring a selection of pieces. Some notable venues that have presented Apple's art include the following. In 1974^[2], the Serpentine Gallery in London held a solo show. More recently, in 2015-2016^[2], the Auckland Art Gallery Toi o Tāmaki presented "Billy Apple: The Artist Has to Live Like Everybody Else". This was a major survey exhibition of his career. Apple's work has also appeared in group exhibitions at institutions like the Museum of Modern Art in New York. Additionally, his pieces are held in numerous public and private collections. Checking the online catalogues of major museums or searching art databases may provide information on current or upcoming exhibitions featuring his work. You may also wish to consult the artist's website or contact galleries that represent his estate for further details on where to view his art.

When considering Billy Apple's prints, bear in mind the distinction between an original print and a reproduction. An original print is conceived as a print, made solely as a print, and is usually part of a numbered, signed edition. Each print is individually inked and pulled; it is a "multi-original medium". The artist decides the number of prints in the edition. Numbering accounts for the prints, for example, 12/25 means it is print number 12 from an edition of 25. Early prints were not always numbered or signed. A reproduction is a copy of artwork initially conceived in another medium, such as painting. It is usually created using photo-mechanical methods. Numbering or signing a reproduction does not make it an original print. Printmakers often adhere to conventions: the edition number on the bottom left, the title in the centre, and the signature on the right, all in pencil. These claims add value if honoured.

Billy Apple's art questioned originality, authorship, and commerce, themes that remain pertinent. Emerging in 1960s Pop Art^[2], Apple, born Barrie Bates, changed his name in 1962^[2] to a trademarked brand. This act blurred art and life, challenging conventional artistic identity. Apple's work engaged directly with the marketplace. He created sculptures from neon beer signs and sold artworks as commodities, prefiguring later debates about art's commodification. His practice extended to 'selling' portions of his body and trademarking his personal identity. These actions critiqued the art world's entanglement with commerce. Apple's conceptual approach, combined with his focus on business, anticipated later artistic strategies. His work remains relevant because it questioned the boundaries of art, commerce, and identity, issues that continue to shape contemporary art practices.

Billy Apple, born Barrie Bates, worked across diverse media throughout his career. He began as a graphic designer, and his early work included sculpture and screen prints. In the 1960s, he explored neon art. One example is *Apple Sees Red: 5 Beams* (1968^[2]), which uses red neon tubes. He often incorporated the Apple name and logo into his pieces, blurring the lines between art and commerce. Later, Apple engaged with more conceptual and performative works. These included body art, such as his *Body Apple* series (1969), where he had his skin tattooed. He also created works involving saliva, blood, and other bodily fluids. Apple often collaborated with scientists and researchers, particularly in his later work. This interdisciplinary approach led to artworks that explored scientific concepts. An example of this is his work with DNA, such as *DNA Signature* (2007), which visualises his genetic code. His practice consistently questioned the nature of art, identity, and the art market itself.

It is difficult to name specific artists directly influenced by Billy Apple. The concept of artistic influence is complex; some critics consider it a marketing tactic. Identifying influence can be a way of declaring who was first, and therefore, who was "greatest". After Marcel Duchamp's death, some art historians argued that contemporary art had its own roots, quite apart from Duchamp or European Dada. They felt pressured to acknowledge Duchamp as a precedent, even when artists were not particularly interested in his work. Figures such as Robert Rauschenberg were inspired by earlier artists like Kurt Schwitters. Rauschenberg said Schwitters "made it all just for me." Similarly, Richard Hamilton and James Rosenquist used mass media publications as source material for Pop art. Some artists resisted the label of Neo-Dada, viewing it as derogatory. Dada's spirit migrated, but its characteristics were not always welcomed by later artists.

Billy Apple, like many artists, drew influence from a range of sources. Early on, he was exposed to Analytic Cubism, particularly the work of Braque and Picasso. He also studied early Kandinsky and Miró, analysing their structures. Apple also looked at Matisse and Mondrian, although he felt more affected by Cubist drawing initially. Later, Apple found inspiration in the New York School artists. Pollock, de Kooning, and Rothko became important figures for him around 1950^[2]-51. He saw Gorky's 1951 exhibition at the Whitney, which included *Agony* and *The Liver Is the Cock's Comb*. He also saw Pollock's 1940s works, as well as his later enamel paintings. Exposure to works by Still, Rothko, and Newman at Betty Parsons's gallery also affected Apple's sense of scale. He knew some of these artists, including Gottlieb, Stamos, Reinhardt, and Baziotes, personally. He also found himself intrigued by Louis's Veils and Unfurleds, and Noland's targets and chevrons.

It is difficult to name Billy Apple's single 'most famous work' because his practice spanned several decades and encompassed diverse media. He is known for his involvement in the Conceptual art movement, and for his focus on branding and the art market itself. His early work involved changing his name to 'Billy Apple' and trademarking the name. He opened 'Apple', a gallery space in New York, in 1969^[2]. Apple's practice often incorporated neon, photography, and printmaking. He created series of works that explored commercial exchange, identity, and the role of the artist. Later in his career, Apple developed 'The Immortalisation of Billy Apple,' a project that involved cryogenically preserving his body after his death. This performative work continued his exploration of identity, commodification, and the boundaries of art.

Billy Apple, born Barrie Bates in Auckland, New Zealand, in 1935^[2], is associated with Pop Art^[2] and Conceptual Art. He changed his name in 1962^[2], coinciding with his artistic focus on his constructed persona. Apple's work often incorporates his name and logo, blurring the lines between art, commerce, and identity. His early work, produced in London and then New York, engaged with the Pop Art interest in consumer goods and advertising. He created sculptures and installations using neon, chrome, and other industrial materials. In 1969, Apple co-founded Apple Art, a non-profit gallery that operated on a fifteen-percent commission. This venture reflected his increasing interest in the art market as a subject. His later work moved further into Conceptual Art, including explorations of branding, corporate identity, and the commodification of the artist. He often examines the legal and economic structures of the art world. Apple's practice involves interventions in public spaces and collaborations with other artists and businesses. He died in 2021^[2].