Ed Ruscha, Surrealism Soaped and Scrubbed, 1966, Courtesy of the David Zwirner Gallery
David Zwirner Gallery is presenting a curated selection of historically significant and contemporary editions at the 2025 IFPDA Print Fair, reinforcing its reputation as a key player in the field of fine art printmaking. This year’s presentation includes iconic works by Ruth Asawa, Yayoi Kusama, Donald Judd, Raymond Pettibon, and Gerhard Richter, alongside new releases by a younger generation of artists, bridging generational and aesthetic dialogues in printmaking practice.
Among the standout features is a newly published edition by Gerhard Richter, one of the most influential figures in postwar European art. Known for his mastery in both abstraction and photorealism, Richter’s foray into printmaking continues to reveal his experimental sensibility and technical virtuosity. The gallery’s decision to include this recent edition reflects the ongoing demand for Richter’s work in both primary and secondary markets.
Equally noteworthy are the early prints by Ed Ruscha, which highlight the conceptual underpinnings of his practice during the 1960s and 70s. These works serve as crucial historical anchors within the booth, illustrating Ruscha’s role in shaping the visual and textual language of American conceptualism. Alongside Ruscha, the inclusion of minimalist icons such as Donald Judd and the psychologically charged drawings of Raymond Pettibon offers a layered reading of printmaking across eras.
Donald Judd, Untitled (Chinati I and II), 1992, Courtesy of the David Zwirner Gallery
David Zwirner also showcases prints by Yayoi Kusama, whose polka-dotted lexicon and obsessive motifs translate powerfully into print media. Similarly, the inclusion of works by Ruth Asawa, long underrecognized within the canon of American modernism, underscores a renewed institutional and market interest in her refined, nature-based visual language.
This year’s booth not only revisits the legacies of canonical artists but also introduces contemporary voices in printmaking. New lithographs by Josh Smith, co-published by Utopia Editions and Tamarind Institute, debut at the fair. Known for his gestural, energetic mark-making, Smith’s prints bring a raw immediacy to the medium. These works are accompanied by recent editions from Utopia Editions by Hayley Barker, Katherine Bradford, Nate Lowman, and Zeinab Saleh—each contributing distinct approaches to color, form, and narrative.
By situating established figures alongside contemporary practitioners, David Zwirner underscores the enduring relevance and dynamic evolution of printmaking as an art form. The selection encapsulates not just technical brilliance, but a broad spectrum of conceptual and cultural engagements that define the medium today.
With its cross-generational approach and attention to both rarity and innovation, the gallery’s participation reaffirms its commitment to championing the depth and diversity of print-based practices in the contemporary art world.
Sayart / Maria Kim, sayart2022@gmail.com
Ed Ruscha, Surrealism Soaped and Scrubbed, 1966, Courtesy of the David Zwirner Gallery
David Zwirner Gallery is presenting a curated selection of historically significant and contemporary editions at the 2025 IFPDA Print Fair, reinforcing its reputation as a key player in the field of fine art printmaking. This year’s presentation includes iconic works by Ruth Asawa, Yayoi Kusama, Donald Judd, Raymond Pettibon, and Gerhard Richter, alongside new releases by a younger generation of artists, bridging generational and aesthetic dialogues in printmaking practice.
Among the standout features is a newly published edition by Gerhard Richter, one of the most influential figures in postwar European art. Known for his mastery in both abstraction and photorealism, Richter’s foray into printmaking continues to reveal his experimental sensibility and technical virtuosity. The gallery’s decision to include this recent edition reflects the ongoing demand for Richter’s work in both primary and secondary markets.
Equally noteworthy are the early prints by Ed Ruscha, which highlight the conceptual underpinnings of his practice during the 1960s and 70s. These works serve as crucial historical anchors within the booth, illustrating Ruscha’s role in shaping the visual and textual language of American conceptualism. Alongside Ruscha, the inclusion of minimalist icons such as Donald Judd and the psychologically charged drawings of Raymond Pettibon offers a layered reading of printmaking across eras.
Donald Judd, Untitled (Chinati I and II), 1992, Courtesy of the David Zwirner Gallery
David Zwirner also showcases prints by Yayoi Kusama, whose polka-dotted lexicon and obsessive motifs translate powerfully into print media. Similarly, the inclusion of works by Ruth Asawa, long underrecognized within the canon of American modernism, underscores a renewed institutional and market interest in her refined, nature-based visual language.
This year’s booth not only revisits the legacies of canonical artists but also introduces contemporary voices in printmaking. New lithographs by Josh Smith, co-published by Utopia Editions and Tamarind Institute, debut at the fair. Known for his gestural, energetic mark-making, Smith’s prints bring a raw immediacy to the medium. These works are accompanied by recent editions from Utopia Editions by Hayley Barker, Katherine Bradford, Nate Lowman, and Zeinab Saleh—each contributing distinct approaches to color, form, and narrative.
By situating established figures alongside contemporary practitioners, David Zwirner underscores the enduring relevance and dynamic evolution of printmaking as an art form. The selection encapsulates not just technical brilliance, but a broad spectrum of conceptual and cultural engagements that define the medium today.
With its cross-generational approach and attention to both rarity and innovation, the gallery’s participation reaffirms its commitment to championing the depth and diversity of print-based practices in the contemporary art world.
