Brooklyn Fine Art Print Fair Expands and Evolves in Second Year

Brooklyn Fine Art Print Fair Expands and Evolves in Second Year

Having attended the first Brooklyn Fine Art Print Fair (BFAPF) at Powerhouse Arts the previous year, I was keen to see its progression. Now in its second year, the fair returns during New York’s spring art season, drawing a global community devoted to innovation and collaboration in printmaking.

The event, running through Sunday, April 12, has grown to feature over 60 exhibitors from local, national, and international origins. Participants include independent print shops, leading publishers, academic departments, self-represented artists, and established galleries. The fair presents a blend of returning exhibitors and newcomers, showcasing a curatorial focus on both contemporary and enduring works, as well as experimental mixed-media practices.

Among the intriguing displays was Shoestring Press’s booth, featuring the work ‘Shape Shift’ (2026) by TUG Collective members Gaelyn and Gustavo Aguilar, realized by Allison Carter-Beaulé and framed by Griffin Editions. This layered screenprint on plexiglass, illuminated by LED lights, draws inspiration from Yusef Komunyakaa’s ‘Warhorses’ (2008), exploring the human use of objects for violence. The piece invokes the Seventh Generation principle, urging viewers to consider their impact on future generations.

Also captivating were the paper sculptures by June Linowitz at Reading Road Studio’s booth, representing extinct and endangered species. Helen Frederick, Reading Road’s founder, emphasized the strict jurying process of this year’s fair, which was their first participation. The studio showcased various mixed-media prints, including Randi Reiss-McCormack’s paper pulp paintings with needlepoint.

This year’s fair also highlighted book art and paper science, with notable works like ‘The Papermaker’s Suite’ (2026) by Ruth Lingen and Reginald Dwayne Betts, and Iranian-American artist Golnar Adili’s ‘A Thousand Pages of Chest in a Thousand Mirrors’ (2024). The fair continues to emphasize the radical history and present of printmaking, featuring work on themes such as Palestinian liberation and protest art.

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