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This issue—the last issue—of Art in Print is about money: money as a facilitator, a collectible and a designated driver of social and political values. Having no inherent material value, paper currency depends on allusion—connecting what it represents pictorially (heroic raptors, dead statesmen, ponderous monuments) to what it represents notionally (the power of the state, the ability to buy a cup of coffee). Artists, unsurprisingly, have made the most of it.

Artist David Storey writes about early 20th-century German emergency money (Notgeld) designed to be hoarded rather than spent.

Rachel Stella analyzes the parodic, irreverent and purposeful faux monetary screenprints of the French 1970s Coopérative des Malassis.

Ray Beldner speaks with Renée Bott about his Counterfeits—iconic works of art replicated in stitched-together currency.

The correlation between real estate values and creative practice was an underlying theme in the exhibition “Pulled in Brooklyn: 26 Printshops, 101 Artists,” reviewed by Faye Hirsch.

David Trigg calls attention to the sheer force of will it must have taken to produce the bright, dynamic world of Grosvenor School linocuts in the midst the Great Depression.

Our Prix de Print winner is the June 4 edition of Dan Wood’s Linotype Daily, whose headline points to a presidency in which money appears to be the only metric for everything.

Money is not everything, of course:

Sarah Kirk Hanley surveys Orit Hofshi’s ruminations on land, water and time.

Re’al Christian introduces two new etching series by Chris Ofili that encompass natural beauty and human tragedy.

Catherine Bindman speaks with curators Nadine Orenstein and Freyda Spira about innovation, experimentation and the origin of etching.

Nicole Meily looks back at Joan Miró’s leap into imaginary form.

Sometimes, however, money does have the last word. This is the final issue of Art in Print. There is, it turns out, such a thing as being too not-for-profit. We thank everyone who has supported us over the past nine years, and who continue to occupy this remarkable corner of the art world, where people lean in to look closely, and pause to take the measure of what lies before them. We have been lucky to keep such company.

Art in Print is a not-for-profit 501(c)(3) corporation.
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