A series of photo-booth self-portraits of Paul Morrissey, taken at the Factory, circa 1967.

Morrissey’s handwritten draft of a flyer for “Andy Warhol’s Underground New York,” a 1966 performance of the Velvet Underground and Nico at Rutgers University.

Color photos by Morrissey—the only ones known to exist—of the E.P.I. players at a Polish social hall in the East Village, called the Dom, in 1966. *From top:* Nico, Andy Warhol, and Lou Reed.

*Top,* the Velvet Underground and Nico with Warhol, by Morrissey, circa 1966; *above,* the final flyer for the Rutgers show.

*Clockwise from top left:* Moe Tucker, Reed, John Cale, and Sterling Morrison, of the Velvet Underground, and Nico, by Morrissey, circa 1966.

Self-portraits of Morrissey, circa 1969.

Two pictures taken at Eothen, the Montauk house rented by Morrissey and Warhol in 1972. The first, taken by Morrissey, shows a young John F. Kennedy Jr.; the second, of Morrissey, was taken by J.F.K. Jr.

An advertising maquette Morrissey designed for his 1971 film *Women in Revolt.*

*Top,* Morrissey directing Holly Woodlawn in *Women in Revolt,* circa 1970 (photo by Gretchen Berg); *above,* an undated portrait by Morrissey of Candy Darling.

Publicity stills for Morrissey’s films: *top,* Holly Woodlawn in *Trash* (1970) and, *above,* Joe Dallesandro and Louis Waldon in *Flesh* (1968).

*Clockwise from top left, Morrissey’s portraits of:* Rodney Harvey, star of *Mixed Blood* and *Spike of Bensonhurst,* circa 1983; a portrait of Nico taken for the cover of her 1967 debut album, *Chelsea Girl;* Warhol holds his 1968 book *a: A Novel;* Joe Dallesandro, the star of *Flesh, Trash,* and Heat, circa 1970.

Morrissey, Dallesandro, and Udo Kier filming *Blood for Dracula,* 1973 (photographer unknown); Morrissey directing Kevin Bacon in *Forty Deuce,* 1982 (photo by Mandy Vahabzadeh).

*Clockwise from top left:* Morrissey with his parents, Lawrence and Eleanor, at his elder sister Justine’s wedding, late 1950s; Eleanor, Justine, and Paul Morrissey, circa late 1930s to early 1940s; Morrissey with the Indri children—his nieces and nephews, and the author’s neighbors—early 1960s.

Photo-booth self-portraits of Morrissey, 1950s–80s.

The Exploding Archival Inevitable

Paul Morrissey—overseer of Andy Warhol’s Factory, manager of the Velvet Underground, and cult director—saved everything. AIR MAIL takes an exclusive look

By David Kamp

In my small, suburban hometown of Highland Park, New Jersey, there was one family that was not like the other families. They lived in a large, six-bedroom house with clapboard siding painted hot pink. There were 10 of them: a mom and a dad, three boys, and five girls. All of the children were uncommonly beautiful. Even their surname was eccentric: Indri.

The Indri kids were outgoing and raffishly bohemian, romping around town in messy bowl cuts (the boys) or under curtains of long, center-parted hair (the girls). Two of them, Christina and Marisa, worked for a time as fashion models, and we would see their faces in Interview and Mademoiselle. One of the sons was named Che, as in Guevara. This was in the 1970s and early 80s.