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In this article, the author aims at reconstructing the logic of the transfer of artistic legitimacy and fame, conceptualized as symbolic capital, from Andy Warhol to his favorite band, The Velvet Underground, between 1965 and 1967, at the Factory. This place, symbolically associated with 20th century art, was at the same time a meeting place and the nerve centre of the New York avant-garde. At that period in his life, Warhol acted as a patron for the Velvet Underground. During that time, the boundaries between high art worlds and popular art worlds were challenged, and, to some extent, blurred.