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Paula Cooper Gallery holiday party, December 2011. Photo by Brandon Mitchell.


Editions, multiples, and small-scale works by Paula Cooper Gallery artists and more.


Laurie Anderson, Philip Glass, Meredith Monk, Pauline Oliveiros, Notes: 2005, 2005

Laurie Anderson, Philip Glass, Meredith Monk, Pauline Oliveiros
Notes: 2005, 2005
4 offset lithographs with cover page and colophon 
each sheet: 13 3/4 x 11 in. (34.9 x 27.9 cm)
frame: 23 3/4 x 20 5/8 in. (60.3 x 52.4 cm)
Edition AP of 50 + 1 AP
Printed by Solo Impression; published by Robert A. Bangiola and MATA



The print portfolio Notes: 2005 was published in October 2005 by the group MATA (Music at the Anthology) to benefit its Annual Young Composer’s Festival held at Paula Cooper Gallery. The portfolio consists of a cover page, colophon, and four one-page compositions on the theme of MATA by Laurie Anderson, Philip Glass, Meredith Monk, and Pauline Oliveros, respectively titled: MATA in MOUNTAINS, MATAMATA Chant, and MATA--This Time--ATAM.

Richard Artschwager,  Locations, 1969

Richard Artschwager

Locations, 1969

Formica on wood with screenprinted plexiglas & 5 blps made of wood, glass, plexiglas and rubberized horsehair with Formica

box: 15 x 10 3/4 x 5 in. (38.1 x 27.3 x 12.7 cm)

Edition 35 of 90



Locations represents a material and textural exploration of the oval shape known as a "blp"—a conceptual focal point Artschwager repeatedly returned to throughout his career. Neither sculpture nor painting, this assemblage of hanging forms and frames evades classification, deliberately failing to locate itself in terms of genre despite its title.

Tauba Auerbach,  [2,3], 2011

Tauba Auerbach

[2,3], 2011

paper, ink, binder's board, glue, fabric, silkscreen

closed: 20 3/4 x 16 1/2 x 4 1/2 in. (52.7 x 41.9 x 11.4 cm)

open: dimensions variable
Edition 678 of 1000, 85 AP



Auerbach's oversized pop-up book features six die-cut paper sculptures that unfold into elaborate, brightly colored structures. Each takes its cue from a different geometric form including the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. Housed in a specially designed slipcase, the project stands as an astonishing art-object, part bookwork and part sculpture, and represents an advance in the field of pop-up technology.

Jennifer Bartlett, Air: 24 Hours (6 p.m., 5 p.m., 5 a.m.), 1994

Jennifer Bartlett

Air: 24 Hours (6 p.m., 5 p.m., 5 a.m.), 1994

suite of 3 etchings: sugarlift-aquatint, drypoint and scraping on Twinrocker handmade paper

image: 17 x 17 in. (43.2 x 43.2 cm)

sheet: 19 x 19 in. (48.3 x 48.3 cm)

Edition PP 1 of 65 + 9 AP + 2 PP

Printed by Branstead Studio; published by Branstead Studio and Paula Cooper Gallery

signed and dated, bottom right: "J. Bartlett '94"; numbered bottom left



Air: 24 Hours documents the passage of time, depicting a different area of the artist’s home and studio in Manhattan once every hour over the course of a single day. Following a set of self-imposed rules, the three pages offered here (6 p.m., 5 p.m., 5 a.m.) share an underlying grid-based structure. Throughout the series, Bartlett makes public some of these most personal aspects of her daily life while retaining a sense of ironic distance and mysterious inaccessibility.

Jonathan Borofsky, Object of Magic, 1989

Jonathan Borofsky

Object of Magic, 1989

screenprint and woodcut in black and tan on Arches wove paper

47 x 60 in. (119.4 x 152.4 cm)

Edition 17 of 18

Published by Gemini G.E.L.



Borofsky came to prominence in the New York art world of the mid-1970s, “hitting the stagnant art scene […] like a blast of crazy, fresh air” with his highly personal style emphasizing the emotive and fantastical recesses of human consciousness. In Object of Magic, he employs text as imagery—a recurring technique used by the artist—to contemplate the nature of the universe and the philosophical and psychological values inherent in the human spirit.

Jonathan Borofsky,  Untitled at 7,857,263, 1995

Jonathan Borofsky

Untitled at 7,857,263, 1995

watercolor and pencil on paper

image: 8 1/4 x 11 3/8 in. (21 x 28.9 cm)

frame: 15 1/4 x 18 1/2 x 1 in. (38.7 x 47 x 2.5 cm)

signed and dated recto, bottom right: "Jonathan Borofsky 1995"



In 1968 Borofsky began a daily practice of writing numbers in succession linearly on paper for several hours every day. Moving from one to infinity, he continued the ritual for years until he began to make sketches and other works of art, using the number he had reached that day as his signature: “For me, numbers are like God. They connect us all together in a way nothing else does. Like magic.”

Céleste Boursier-Mougenot, the Curve poster, 2010

Céleste Boursier-Mougenot

the Curve poster, 2010

lambda print

25.6 x 25.6 in. (65 x 65 cm)

Edition 49 of 100

Printed by the Barbican, London

signed and numbered



This limited-edition print was produced to commemorate Boursier-Mougenot’s exhibition from here to ear at the Curve Gallery in London’s Barbican Centre in 2010. As one of the centre’s most popular installations to date, the walk-through exhibition transformed the space into a living soundscape through the actions of 40 zebra finches—who perched, fed, and nested among discretely placed musical equipment.

Sophie Calle, Red Shoe, 2000

Sophie Calle

Red Shoe, 2000

iris print on cream Arche paper

36 1/4 x 26 in. (92.1 x 66 cm)

framed: 39 1/2 x 29 1/2 x 1 1/2 in (100.3 x 74.9 x 3.8 cm)

Edition 22 of 125 (59 produced)

Published by Eyestorm, London

signed verso: "S. Calle"



"Amelie and I were eleven years old. We had a habit of stealing from department stores on Thursday afternoons. We did this for one year. When her mother began to suspect, in order to frighten us, she said that a policeman had spotted us […] Our last robbery had been a pair of red shoes too big for us to wear. Amelie kept the right shoe, and I kept the left.” – The full version of Calle's personal anecdote is transcribed beneath a related image.

Beatrice Caracciolo,  Attraversare il Fuoco (Fuoco Wood Box), 2013

Beatrice Caracciolo

Attraversare il Fuoco (Fuoco Wood Box), 2013

7 digital prints, woodcut, and printed pages in wooden box

box: 9 x 10 5/8 x 1 in. (22.9 x 27 x 2.5 cm)

Edition 10 of 50

Printed by Atelier Estampe Photographique and Atelier Martin Garanger, Paris

signed and numbered on last printed page; numbered on the box



Working from photographs that she transforms through a process in several stages, Caracciolo creates black and white images on the theme of Fire. Before photographing the fires, the artist spends long hours admiring them, seated before the fireplace. With hypnotic fascination, she fixes her gaze on the tumultuous flames before capturing them on film.

Sarah Charlesworth, Red Bowls (small), 2005

Sarah Charlesworth

Red Bowls (small), 2005

cibachrome with lacquered wood frame

20 1/2 x 15 1/2 x 1 1/8 in. (52.1 x 39.4 x 2.9 cm)

Edition 9 of 25



This Cibachrome print from Charlesworth’s 2005 Simple Text series uses the photographic field as a ritual or meditative space. Employing simple materials and objects staged as offerings, the series pays homage to the physical properties of art and celebrate the act of becoming.

Matias Faldbakken, Flat Box Lithography #03, 2014

Matias Faldbakken

Flat Box Lithography #03, 2014


paper: 30 x 25 in. (76.2 x 63.5 cm)

Edition 6 of 12

signed, dated, numbered bottom recto



Derived from a series of works Faldbakken exhibited at Paula Cooper Gallery in 2014, the Box lithographs interrogate the boundary between the precious, quasi-sacred quality of the art object and the disposable yet nostalgic nature of cardboard packing boxes. The works also speak to the ideas of circulation at play in Faldbakken’s “container works”—cans, jugs, lockers, sacks, bags, and other generic vessels for storage and transport that potentially contain goods of some sort. These flattened packing boxes evolved out of an encounter with a Joseph Beuys work consisting of a framed olive oil box.

Ja’Tovia Gary, The GIVERNY SUITE, 2019

Ja’Tovia Gary and No Sesso
cotton long sleeve t-shirt



Original shirts designed by Ja’Tovia Gary and the LA-based fashion brand No Sesso to celebrate Gary’s installation The GIVERNY SUITE. 40% of the proceeds go to the non-profit Assata's Daughters, a Black woman-led, young person-directed organization rooted in the Black Radical Tradition. AD organizes young Black people in Chicago by providing them with political education, leadership development, mentorship, and revolutionary services. Learn more about Assata's Daughters at

Liz Glynn, Untitled Wall Fragment (Open House), 2017

Liz Glynn

Untitled Wall Fragment (Open House), 2017

cast concrete

12 x 9 x 2 1/2 in. (30.5 x 22.9 x 6.4 cm)

Edition 21 of 27, 3 APs



Glynn’s major public commission titled Open House transformed a plaza in Central Park into an open-air ballroom—like those privately owned by New York City’s wealthy elite at the turn of the 20th century. The artist's lavish objects evoked the historic homes, but with a twist—her works featured sculpted additions and were cast in concrete, a modern populist material, underscoring concerns of growing socio-economic divides.

Liz Glynn, Untitled Figure Study LXXVI, 2016

Liz Glynn

Untitled Figure Study LXXVI, 2016


4 x 3 3/4 x 2 3/4 in. (10.2 x 9.5 x 7 cm)



Using a visceral and immediate approach to molding clay, Glynn models her Figure Studies on masterworks and archetypal compositions from art history. The resulting objects bear evidence of the artist’s hand—pinched and poked to emphasize certain expressive aspects of the improvised form.

Robert Gober, Untitled, 1993-94

Robert Gober

Untitled, 1993-94

photolithography on archival (French Dur-O-Tone) paper

11 1/4 x 12 in. (28.6 x 30.5 cm)

framed: 13 x 13 1/4 x 1 1/2 in. (5.1 x 5.2 x 0.5 cm)

Edition 53 of 75 + 10 AP

Published by the artist

signed and dated under fold: "R. Gober '93-4"


Gober’s works replicate everyday objects and images with an eerie precision and, usually, a detail or two that is just a little bit off—drawing out difficult childhood memories and an unease with the domestic rituals and lingering puritanical attitudes of the suburban middle class. He extended his trompe l'oeil methods into printmaking by fashioning several editions of photolithographs that look just like newspaper pages. Here, Gober mocks up a faux supermarket circular advertising page featuring a whole pig.

Robert Gober/Joyce Carol Oates, Heat, 1989

Robert Gober/Joyce Carol Oates

Heat, 1989

two 40-page leather-bound books with metal clasps in cloth box

box: 9 1/8 x 13 1/8 x 2 in. (23.2 x 33.3 x 5.1 cm)

each book: 8 1/4 x 5 3/4 x 1 1/4 in. (21 x 14.6 x 3.2 cm)

Edition 17 of 140

Published by the Library Fellows of the Whitney Museum of American Art, New York; printed by Derriere L'Etoile Studios, New York

signed by the artist and author



The artist’s book Heat is a collaboration between the artist Robert Gober and the writer Joyce Carol Oates, who wrote this short story about the life and premature death of a pair of twins in a small American town. Gober designed the two locked diaries, which include images inspired by the text with printed endpapers created by Gober featuring a pattern of male and female genitals. He produced a wallpaper from the pattern the same year, and a suite of prints two years later.

Robert Grosvenor, Untitled, circa 2000-2013

Robert Grosvenor

Untitled, circa 2000-2013


image: 4 x 6 in. (10.2 x 15.2 cm)

frame: 13 x 14 1/2 in. (33 x 36.8 cm)

Edition 1 of 2, 1 APs



In his photographic works, Grosvenor translates his distinct formal vocabulary into two-dimensional snapshots of everyday life. The intimate images present familiar objects in striking and often comical arrangements. Toting flattened colors, silhouetted subjects and cropped perspectives, they offer an alternate reality that is parallel to ours, yet oddly alien and abstruse.

Hans Haacke, Canal at Hudson (from Proposal for poster commemorating 9/11 with photographs of posters produced by Creative Time 6 months after attack, on approximately 100 media boards in Manhattan), 2001 - 2002

Hans Haacke

Canal @ Hudson (from Proposal for poster commemorating 9/11 with photographs of posters produced by Creative Time 6 months after attack, on approximately 100 media boards in Manhattan), 2001 - 2002


10 3/8 x 15 inches (26.4 x 38.1 cm)

Edition AP1 of 3, + 2 AP



For his 2002 poster project commemorating the attack on the World Trade Center, Haacke produced an edition of monochrome white posters from which the silhouettes of the Twin Towers had been cut out. These were glued onto poster walls around New York City so that the underlying printed matter—often ads for shows, films or records—remained partly visible in the negative volumes. 

Michael Hurson, Gravure de Crayon, 1987

Michael Hurson

Gravure de Crayon, 1987

Color aquatint, spitbite, scraping and burnishing on paper

20 x 17 inches (50.8 x 43.2 cm)

Edition 25 of 35

Published by Joe Fawbush Editions, New York; printed by Jennifer Melby Editions, New York



Hurson’s Gravure de Crayon is emblematic of the artist’s signature images of anthropomorphized inanimate objects. An edition of this work in the collection of the Museum of Modern Art in New York was recently exhibited in "Artist’s Choice: Amy Sillman—The Shape of Shape," a collection installation celebrating the reopening of the museum in October 2019.

Louise Lawler, Mouse on a Tight Rope, 2002

Louise Lawler

Mouse on a Tight Rope, 2002

black & white photograph

paper: 8 x 10 in. (20.3 x 25.4 cm)

Edition 59 of 100

signed, dated, and numbered on verso



Lawler’s black-and-white photograph captures an installation by Maurizio Cattelan in the entrance of Paula Cooper Gallery featuring a mouse dangling from a tightrope. Printed on fiber-based paper, the work is intended for placement in the viewer/collector’s own library. Like much of Lawler’s work, the piece aims to situate its content directly in the context in which it is shown.

Julian Lethbridge, untitled, 2000

Julian Lethbridge

untitled, 2000

toner in solvent on paper

paper: 22 1/2 x 32 1/2 in. (57.2 x 82.6 cm)

frame: 22 1/2 x 33 1/4 x 1 1/2 in. (57.2 x 84.5 x 3.8 cm)

signed and dated at bottom right: "Julian Lethbridge '00"



Lethbridge’s abstract vocabulary often originates from random or naturally occurring patterns, such as shattered glass or a spider’s web. Using layers of overlapping strokes, Lethbridge builds multifaceted surfaces that expose the form and process of their underlying repetitions.

Sol LeWitt, Schematic Drawing for Muybridge II (from Artists and Photographs Portfolio), 1970

Sol LeWitt

Schematic Drawing for Muybridge II (from Artists and Photographs Portfolio), 1970

black and white offset lithograph in envelope

paper: 5 1/8 x 12 3/8 in. (14 x 31.8 cm)

envelope: 5 1/2 x 12 1/2 in. (13 x 31.4 cm)

Edition of 1200 (200 produced)

Published by Multiples, Inc., New York



Printed in a horizontal line on a single rectangular card, the small, cropped, circular, black-and-white photos offer a visual spatial progression. The photograph on the far left presents a long, angled view of a nude female standing in a nondescript darkened room. The subsequent photos capture the camera moving closer to the subject, narrowing the frame with each stop until the final photo on the far right is an extreme close-up of the woman's navel. Interestingly, LeWitt designed this piece to be viewed directionally, encasing it in an envelope with an opening on the right vertical edge, so the viewer encounters the extreme close-up first. As the card withdraws from the envelope, each photo is evidence of the camera moving backward through space, thus visually describing more, not less, of the static female subject.

Liz Magic Laser, Disco Globe, 2013

Liz Magic Laser

Disco Globe, 2013

mirrored glass, black glass, plastic core, chain and rotating motor

16 x 16 x 16 in. (40.64 x 40.64 x 40.64 cm)

Edition 1 of 5 + 2 AP



The artist’s performance and video installation Absolute Event was presented at Paula Cooper Gallery in 2013, for which two actors performed a dialogue of a political strategist coaching a politician from behind the scenes of a situation room. The gallery was transformed into a control room and a situation room, incorporating elements from a disco nightclub including this mirrored disco ball altered to look like a globe.

Christian Marclay, New York, 2004

Christian Marclay

New York, 2004


image: 11 x 8 1/4 in. (27.9 x 21 cm)

sheet: 14 x 11 1/4 in. (35.6 x 28.6 cm)

Edition 2 of 5, 2 AP

signed, titled and dated verso



Marclay’s photographs from international cities depict objects, text, and metaphors for sound—underscoring the often-overlooked aural symphony of everyday life.

Justin Matherly, Untitled (Sunrise/Sunset), 2015

Justin Matherly

Untitled (Sunrise/Sunset), 2015

inkjet monoprint on canvas, clear urethane rubber, grommets, acrylic paint, crystal clear UV spray, PVA

37 3/4 x 31 3/8 in. (95.9 x 79.7 cm)



Created by transferring wet ink from transparencies onto paper, Matherly’s smudged monoprint reduces a landscape photograph to blurry abstraction.

Kazuko Miyamoto, Lines From Semicircle, 2009

Kazuko Miyamoto

Lines From Semicircle, 2009

silkscreen print

27 1/4 x 25 3/8 in. (69.2 x 64.5 cm)

frame: 30 1/4 x 28 1/2 in. (.6 x 72.4 cm)

Edition 25 of 25

signed, titled, dated, numbered



Miyamoto is a preeminent feminist figure of minimalism, and a pioneer of a new and radically warm brand of rigorous abstraction, introducing handmade, irregular, and intimate elements that both modulated the movement’s unforgiving visual language and advanced it, by critique.

Claes Oldenburg, Multiples in Retrospect 1964-1990 with The Soap at Baton Rouge, 1990

Claes Oldenburg

Multiples in Retrospect 1964-1990 with The Soap at Baton Rouge, 1990

160 page book, cast resin, vinyl filled with aluminum silicate, serigraph on acetate sheet

soap: 3/4 x 4 3/4 x 2 3/4 in. (1.9 x 12.1 x 7 cm)

serigraph on acetate sheet: 9 1/2 x 12 1/2 in. (24.1 x 31.8 cm)

case: 9 1/2 x 12 1/2 in. (24.1 x 31.8 cm)

Edition 204 of 250 + 30 AP

Published by Carl Solway Gallery, Cincinnati

signed and numbered



Oldenburg: “When Carl Solway called me in May 1972 and asked if I would be interested in proposing a large-scale work for Cincinnati, he mentioned that partial funding for such a work might be sought from the Procter & Gamble Corporation, whose world headquarters are in that city. The most familiar product of that company is the bar of pure white soap [with] its embossed slogan, ‘lt floats.’ [...] I proposed to Carl that a colossal soap be made by Procter & Gamble and launched in [the Ohio River in] Cincinnati with appropriate ceremony. It would thereafter float down the river, stopping at towns along the way.” As the colossal soap moved from town to town, it would dissolve and grow smaller. At Cairo, Illinois, the now somewhat-less-than-colossal soap would slip into the Mississippi. From there on, it would become more and more difficult to gather people to celebrate the visit of the soap. By the time the soap reached Baton Rouge, it would be the right size for a multiple.

Paul Pfeiffer, Four Horsemen of the Apocalypse #20, 21, 22, 2006

Paul Pfeiffer

Four Horsemen of the Apocalypse #20, 21, 22, 2006

set of 3 color inkjet prints

image, each: 4 x 6 in. (10.2 x 15.2 cm)

overall: 13 x 6 1/4 in. (33 x 15.9 cm)

Edition 8 of 30 + 5 AP + 5 PP + 1 BP

Published by BOMB magazine; printed at Jon Cone Studio

editioned, signed and dated recto



Using images from the NBA archive, Pfeiffer digitally erases all but one of the players as well as all contextual details including text, lines on the court, and signifiers on the player’s jersey. The resulting image—alluring yet eerie—recasts the phenomenon of spectacle to uncover its psychological, cultural, and racial underpinning.

Eliot Porter, Iceland, 1972

Eliot Porter

Iceland, 1972

dye transfer print mounted on museum board

paper: 8 1/2 x 10 1/2 in. (20.6 x 26.7 cm)

board: 15 x 17 1/2 in. (38.1 x 44.5 cm)

stamped verso



A series of lush color photographs taken by Porter during his extensive travels through Iceland, these exquisitely rendered images have the lyrical power associated with Porter’s photography.

Eliot Porter, Wind Eroded Volcanic Ash - Kleifarvatn, from the portfolio "Portfolio II Iceland", 1972

Eliot Porter

Wind Eroded Volcanic Ash - Kleifarvatn, from the portfolio "Portfolio II Iceland", 1972

dye transfer print mounted on museum board

paper: 10 1/2 x 8 1/2 in. (26.7 x 21.6 cm)

board: 20 x 15 in. (50.8 x 38.1 cm)



A series of lush color photographs taken by Porter during his extensive travels through Iceland, these exquisitely rendered images have the lyrical power associated with Porter’s photography.

Joel Shapiro, Untitled (Green), 1979-1980

Joel Shapiro

Untitled (Green), 1979-1980

lithograph on Arches Cover printed in green from an aluminum plate

22 x 29 3/4 in (55.9 x 75.6 cm)

framed: 29 1/2 x 37 1/4 x 1 1/4 in (74.9 x 94.6 x 3.2 cm)

Edition 21 of 30 + 10 AP + 3 PP

Printed by Maurice Sanchez & Arnold Brooks, Derrière L'Étoile Studios, New York



Exploring the effect of color on form, Shapiro produces compositions on paper, including collages and prints. He prefers colors that have a strong graphic identity, such as red, blue, and green, and his choices generate color-as-color, a structural color that readily distinguishes one element from another. 

Robert Smithson, Asphalt Rundown, 1969

Robert Smithson

Asphalt Rundown, 1969


40 x 27 1/2 in. (101.6 x 69.9 cm)

Published by Galleria L'Attico, Rome

unsigned and unnumbered

edition size unknown



An exhibition poster designed by Smithson for his storied October 1969 installation in a quarry outside Rome. The first of Smithson’s major outdoor earthworks intended to exist exclusively outside, ​Asphalt Rundown​ is a demonstration of what he called the “crystalline structure of time.” Smithson poured a truckload of hot asphalt down a steep embankment, which cooled and hardened as it fell. The resulting sculpture can be seen as time frozen, mid-flow, or as yet another sedimentary layer in the infinite accumulation of time.


Kelley Walker, Andy Warhol and Sonny Liston fly on Braniff. (When you got it-flaunt it), 2006

Kelley Walker

Andy Warhol and Sonny Liston fly on Braniff. (When you got it-flaunt it), 2006

color poster

40 x 28 inches (101.6 x 71.1 cm)

unlimited edition



This digitized screenprint appropriates an image from the notorious 1967 ad campaign by George Lois for the now defunct Braniff Airlines.

Dan Walsh, Half Circle Full, 2019

Dan Walsh

Half Circle Full, 2019

acrylic on Rives de Lin paper, 32 pages

8 5/8 x 9 in. (21.9 x 22.9 cm)

Edition 10 of 10, + 3 APs

initialed and dated on back



Walsh’s practice of bookmaking marks time and entertains the multiplicity of possibilities, in a performative and meditative manner. Here the form of a circle is repeated in various tones and brush applications.

Dan Walsh and Majorie Welish, Between Sincerity and Irony, 2019

Dan Walsh and Majorie Welish

Between Sincerity and Irony, 2019

silkscreen on (five sheets of) Colorplan paper, handsewn in a double accordion fold, daveyboard slipcase

9 1/2 x 9 3/4 in. (24.1 x 24.8 cm)

Edition 49 of 50, 1 AP



A collaboration by Marjorie Welish and Dan Walsh, Between Sincerity and Irony is an accordion structured book in which folds develop complex interactions between this phased art dialogue. One first sees Walsh’s circles expanding to lozenges, empty, then full. Underneath and exposed is a disjunctive image by Welish wherein the same yellow appearing in two bands samples two very differing semantics. But that is only the beginning of the adventure as the book unfolds variously.

Bing Wright, Silver Prints (for O'Sullivan), 2007

Bing Wright

Silver Prints (for O'Sullivan), 2007

wax and silver leaf on silver print mounted on museum board

23 1/4 x 19 1/5 in. (59.1 x 48.8 cm)

framed: 34 x 30 in. (86.4 x 76.2 cm)


stamped and signed verso



In his Silver Prints, Wright pays tribute to the alchemical magic and vital/historic role of silver in the process of photographic printing: “I photographed silver leaf on glass, often allowing a shadow to be cast, and when the ‘silver print’ was still wet fresh out of the bath I randomly dropped pieces of silver leaf that adhered and became part of the picture plane of the photograph itself. I then allowed the adhered silver to age and color to various degrees before ultimately sealing the tarnishing process with a thin wax coat, a traditional protective material used since the nineteenth century. I entitled the resulting images simply ‘Silver Prints’ and dedicated them individually to various nineteenth-century masters of the medium.”