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International Fine Print Dealers Association (IFPDA), Fine Art Print Fair (online only) 2020

October 7, 2020 – November 1, 2020

Works In Exhibition

+ Within + [linear + bisecting four colored rectangles in a + formation]

Robert Mangold + Within + [linear + bisecting four colored rectangles in a + formation] 1981 Screenprint on museum board with cut edge

Image size irregular:  7 15/16 x 10 15/16 inches  (20.2 x 27.8 cm)
Paper size:  16 1/2 x 16 1/2 inches  (41.9 x 41.9 cm)
Edition of 50
Signed, numbered, titled and dated along lower edge in graphite
(Inventory #28680)

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The Hydraulic Door Check

Richard Artschwager The Hydraulic Door Check 2002 Lithograph on paper with deckled edge

Image size approx.: 8 1/2 x 15 inches (21.6 x 38.1 cm)
Paper size: 17 1/4 x 23 3/4 inches (43.8 x 60.3 cm)
Edition of 55, 15 AP
Signed lower right and numbered lower right in ink
(Inventory #30888)


Kiki Smith River 2019 Monoprint with hand-applied pencil, ink, and watercolor stamp on Losiny Prague paper

Image/paper size: 11 1/2 x 8 inches (29.2 x 20.3 cm)
Signed and dated lower right in graphite
(Inventory #31166)

Leaning on Air

William Kentridge Leaning on Air 2019 Woodcut on two sheets of Kiakata, mounted to a backing sheet of Arches, Cover White paper

Image size:  8 1/2 x 27 3/8 inches  (21.7 x 69.5 cm)
Paper size:  11 1/2 x 30 inches  (29.5 x 76.5 cm)
Edition of 18
Signed and numbered
(Inventory #31585)

Turquoise Mirrorpiece

Robert Barry Turquoise Mirrorpiece 2020 Enameled and etched glass

Edition of 15
30 x 30 inches  (76.2 x 76.2 cm)
Signed and numbered
(Inventory #31686)

Known as one of the founders of Conceptual Art, Robert Barry, in the 1960’s and 1970’s explored sound waves, barely visible string, releasing inert gas into the atmosphere and announcing that exhibitions would be closed. The projects engaged issues of audience involvement, perception, spatial relationships and art world structures. Early on, Barry used written language as art, counter-point and explanation for his work. The use of language soon became his ‘signature’ medium. Barry’s works are, in one sense, austere. Clean words and surfaces provide visual allure. Reading the chosen words provides an opportunity to get into the works and to better “read” the art. However, no defined references exist in the works. One must be willing to question and explore the potential connections, both for the artist, but more so for the viewer. Each of the formal decisions Barry makes provides opportunities for more specific readings of the work, yet there is no one narrative or reference to be made. How the artist makes work that is powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why the work is so strong.

In the brand new “Turquoise Mirrorpiece”, Barry has dispersed words across, over and beyond the surface. The arrangements, juxtapositions, and proximities of the words give further opportunity not only to read the words but to read INTO the words, so as to think about what the relationships may be. The smooth quality of the glass reflects imagery and colors in the space, as well as reversing, repeating and spotlighting various elements of the room. How much is on purpose and how much is open to chance is forever unknown. The known, the unknown and the grey area between are key to equally examine in Barry’s work. In order to do this, one must also equally examine the general, the personal and the universal.

Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry’s work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others. His works are in the collections of the Whitney Museum of American Art, New York, NY, Van Abbemuseum, Eindhoven, Stedelijk Museum, Amsterdam, Panza Collection, Varese, Ludwig Collection, Cologne, Museum of Modern Art, New York, Hirshorn Museum and Sculpture Garden, Washington D.C., Musee National d’Art Moderne, Centre George Pompidou, Paris, Kunstmuseum Basel, Basel, National Gallery of Art, Washington, D.C., The Solomon R. Guggenheim Museum, New York, Museum für Monderne Kunst Frankfurt am Main, Frankfurt, Germany, Museum of Contemporary Art Los Angeles, Los Angeles, and the Musée d’Orsay, Paris, among many others.


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Kay Rosen Palimpsest 1991/2020 Matte latex paint on wall

Dimensions variable
Edition of 12
Signed on accompanying certificate
(Inventory #31747)

The tenuousness and slippage which occurs in language parallel the fragility and uncertainty inherent in political systems of power. In “Palimpsest” a sacrosanct list of popes and kings, whose nine predecessors enjoyed authority determined, validated, and endorsed by a history of their namesakes, is thrown into confusion by the final ambiguous function of the single letter “X”. “X” changes this history from unquestionable ancestry to unknown ancestry. Historical predicability is threatened by the implications of a letter.


Fred Wilson 1863 2006 Archival inkjet with glassine overlay

Image/paper size: 19 1/4 x 27 1/8 inches (48.9 x 68.9 cm)
Frame size: 26 1/4 x 34 inches (66.7 x 86.4 cm)
Edition of 35
Signed and dated lower right, numbered lower left in graphite
(Inventory #31821)

For “1863”, Fred Wilson digitally reproduced a lithograph illustrating the encampment of the Sixth Regiment Infantry, Massachusetts Volunteer Militia, in Suffolk, Virginia during the Civil War. The 1863 lithograph was a type made to depict the many camps that were set up for the different regiments. The prints were as created for soldiers and their families at home. The depicted Sixth Regiment was the first unit in the Union Army to suffer fatal casualties during the Civil War. The majority of the regiment’s time in 1863, when not on expeditions, was spent digging trenches and clearing trees in front of the defensive lines around Suffolk. The hard labor had a detrimental effect on the general morale of the Union troops stationed there. This was exacerbated by antagonistic feelings between the civilians of occupied Suffolk and the enlisted men of the Sixth Massachusetts who were fighting to abolish slavery. With all this known, it is even more important to recognize that Wilson’s work consists of not only a digital reproduction of this image, but that Wilson laid a sheet of translucent glassine on top of the reproduction, so as to blur the details. The lower left corner of the glassine contains a cut hole, to allow a viewer to see one specific element of the image underneath: a Black woman at the fringe, hanging up laundry to dry. Through his ‘manipulation’ of the historical image, Wilson reveals, even within a white unit of the Union army who was fighting for the abolition of slavery, the almost invisibility of the laundress, and more pointedly, the invisibility of women and Black people and their work in the history of the Civil War, and ultimately the USA.

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Money Creates Taste from Truisms, 1977-79

Jenny Holzer Money Creates Taste from Truisms, 1977-79 2004 Glass paperweight multiple engraved with the words "Money Creates Taste"

Edition of 90, 10 AP
3 x 3 inches  (7.6 x 7.6 cm)
Accompanied with a certificate of authenticity signed by the artist
(Inventory #31848)

“Money Creates Taste”, functionally, is a glass paperweight. It incorporates one of Jenny Holzer’s “Truisms” (1977-79), which she wrote to resemble existing truisms, maxims, and clichés. Each Truism distills difficult and contentious ideas into a seemingly straightforward fact. Privileging no single viewpoint, the “Truisms” examine the social construction of beliefs, mores, and truths all while questioning issues of fact, narrative and viewpoint.

The “Truisms” first were shown on anonymous street posters that were wheat-pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. As for this specific piece, the words are etched in glass and get warped as one looks at them.  This visual alteration of the words gives a viewer a sense that the statement is not quite “true”. Furthermore, looking at the form of a paperweight, the text is actually meant to hold things down, which is not always a good thing.

For more than forty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art and the Louvre Abu Dhabi. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990, the World Economic Forum’s Crystal Award in 1996, and the Barnard Medal of Distinction in 2011. She holds honorary degrees from Williams College, the Rhode Island School of Design, The New School, and Smith College. She lives and works in New York.

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The Four Sides of the Tower for the Community Activities Center, Davenport, Iowa, Plate #04

Sol LeWitt The Four Sides of the Tower for the Community Activities Center, Davenport, Iowa, Plate #04 1983 Silkscreen

Edition of 30
Image/paper size: 25 1/2 x 32 inches (64.8 x 81.3 cm)
Signed and numbered lower right in graphite
(Inventory #32010)
Krakow 1983.07d

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Wives and Mistresses

Kiki Smith Wives and Mistresses 2019 Bronze and white sapphires, in a unique variation

1 x 2 7/8 x 1 inches (2.5 x 7.3 x 2.5 cm)
Engraved KS 2019 on bottom
(Inventory #31824)

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Brice Marden Untitled 1973 Etching on Rives BFK paper

Edition of 50
Image size: 27 3/8 x 19 1/4 inches (69.5 x 48.9 cm)
Paper size: 39 7/8 x 29 3/8 inches (101.3 x 74.6 cm)
Frame size: 49 3/4 x 39 inches (126.4 x 99.1 cm)
Signed and dated lower right, numbered lower left in graphite
(Inventory #31493)

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Rusty Signs – Dead End 1

Ed Ruscha Rusty Signs – Dead End 1 2014 Mixografia print on handmade paper

Edition of 50
Image/paper size: 24 x 24 inches (61 x 61 cm)
Signed and dated lower right, numbered lower left
(Inventory #31140)

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Flexible and Stainless

Sylvia Plimack Mangold Flexible and Stainless 1975 Lithograph from one plate and three stones in black (twice), transparent gray, and light opaque yellow

Edition of 50
Signed lower right, titled lower center and numbered lower left
Image size: 10 5/8 x 15 inches  (27.3 x 38.2 cm)
Paper size: 21 x 29 3/8 inches  (53.5 x 74.5 cm)
(Inventory #32054)

Double Show Window

Christo Double Show Window 1972 The complete set of two multiples, comprised of Plexiglas painted with green paint, in the artist's original aluminum frames

Edition of 65
35 1/8 x 24 x 3 inches each (89.2 x 61 x 7.6 cm each)
One signed and dated, both numbered ’38/65′ in graphite on the interior of the frame
(Inventory #30456)

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Oh, #I and #II

Liliana Porter Oh, #I and #II 2002 Woodcut, with litho chine colle, on Somerset satin white

Edition of 25
Image/paper size: 30 x 22 inches each (76.2 x 56 cm each)
Overall size: 30 x 44 inches (76.2 x 111.8 cm)
Signed, numbered and titled in graphite
(Inventory #29694)