Intimations of mortality had always coursed through Warhol’s art and the 1970s brought new ones in eerie pictures of skulls, and, by implication, in “Shadows,” a 100-plus panel abstract tour de force in which darkness has no source and no end: It’s just there, foreboding, miasmic, waiting. The artist specified that this wraparound painting, on loan from Dia Art Foundation, could be edited to fit differently sized spaces. In the version now on view at Calvin Klein headquarters at 205 West 39th Street, it’s reduced to 48 panels and has its sightlines interrupted by the space’s thick columns. Even with handicaps, though, it’s a stunner, and Dia gets full credit for the presentation.

And, strange as it seems for an artist so absorbed in worldly matters, images of spiritual transcendence were a staple of his work too, from the “Marilyn” paintings onward. And Ms. De Salvo has given his retrospective a celestial conclusion. There are only four works in the large rectangular final gallery. At either end hang two giant examples of his abstract “Rorschach” paintings, one gold, one black. With their curves and flanges they could be giant examples of Julia’s rococo designs. On a long wall hangs a 25-foot long silk-screen painting of Leonardo da Vinci’s “Last Supper,” its sacred narrative of dread and redemption half-buried in camouflage patterning. And facing it is an even longer picture called “Sixty-Three White Mona Lisas,” in which repeat images of the most famous celebrity-sitter of all are dimly visible under washes of semi-translucent white paint.

The work is both a nod to an old, fixed art history (Leonardo, Duchamp) and the statement of a new, open-ended one of simultaneous erasure and proliferation. And seen at the conclusion of Ms. De Salvo’s show the painting suggests a further reading: the image of a host of spirits — benign? threatening? neutral? — stirring behind a drifting bank of clouds.

I never thought I’d use the word exalted for Warhol, or transcendent, or sublime. And he probably never thought to use them either. But that’s what’s here.