After the Industrial Revolution, countries including Britain, America, Japan, Taiwan, and China, have taken turns serving as the world’s factory. During and post-industrialization, artworks addressing the factory reveal symptoms of the transformation of society, as well as generational and regional differences in globalization. This paper discusses factory-related artworks or practices of Taiwanese artist Chen Chieh-Jen (1960- ), Chinese artist Cao Fei (1978- ), and American artist Andy Warhol (1928-1987) in their respective contexts: Taiwan undergoing its transition to a post-industrial society; China, currently the world’s factory, with massive industries having moved in, and now increasingly moving out; and the post-industrial United States. The three artists in question produce artworks in order to reveal the reality of production. Emerging or flourishing cultural and creative industries not only reveal society’s political and economic background, but also the nature of art as a productive industry in its own right. From this perspective, Warhol is a creative entrepreneur presenting himself as an artistic production line in deindustrialized America; Cao, a global player, can be seen as a global Chinese art brand showcasing works mainly at international art venues; Chen, also an international artist, is in a position to offer alternative cultural and creative production in post-industrial Taiwan.