As spring approaches in New York, art aficionados flocked to the Park Avenue Armory on the evening of April 9 for the International Fine Prints and Drawings Association’s annual Print Fair. Since its inception in 1991, this event has become a beloved fixture for both affluent collectors and print enthusiasts. Known for its cozy atmosphere, the fair stands out from its autumn counterparts by offering more affordable price points. “I think there’s a comfort level with collectors,” shared Temma Nanas from Leslie Sacks Gallery. “Print is a more democratic medium.”
Featuring over 80 galleries and publishers from across Europe, Asia, and the Americas, the fair showcased works by prominent contemporary artists such as Julie Mehretu, David Hockney, and Yayoi Kusama. At Krakow Witkin Gallery, Kiki Smith’s “Wooden Moon” (2022) offered a unique experience, its 12-foot length making it her largest piece to date. Meanwhile, Scholten Japanese Art displayed ukiyo-e masterpieces by Hokusai and Hiroshige, transporting viewers back to 19th-century Japan.
David Zwirner’s booth attracted attention with Louis Fratino’s vibrant self-portrait, inspired by Picasso’s etching techniques. “People often ask, ‘How was this made?’” remarked Elleree Erdos, director of prints and editions. The fair’s comprehensive offerings provided a platform for such inquiries. Additionally, Amedeo Modigliani’s “Cariatide Rouge sur Fond Noir” and Henri de Toulouse-Lautrec’s lithographs at David Tunick’s booth captivated attendees with scenes reminiscent of Montmartre’s cabaret culture.
Paula Rego’s impactful abortion etchings at Cristea Roberts Gallery highlighted social issues, reflecting the series’ acquisition by the Metropolitan Museum of Art in 2023. William Kentridge’s works at Hauser & Wirth, including “Refugees (You will find no other seas)” (2018), continued his exploration of social injustices, with proceeds supporting arts initiatives. Returning to the fair after a hiatus, Judith Solodkin of SOLO Impression showcased collaborations with Judy Chicago and Ceceilia Vicuña, drawing interest from both new and familiar faces.
The Old Print Shop’s booth, featuring historical maps and prints of New York, drew significant attention. Harry Newman noted a surge in interest for early maps amidst the upcoming 250th national anniversary, while also highlighting the dwindling stock of Emily Trueblood’s prints of the Brooklyn Bridge. “We’re just about out of them,” he mentioned, underscoring the enduring allure of the city’s iconic imagery.
