Skip to main content
32 East 57th Street
New York, NY 10022
By Appointment
212 421 3237

Also at:
Pace Prints Chelsea
521 West 26th Street
New York, NY 10001
By Appointment
212 629 6100
Pace Prints, founded in 1968, is a fine art contemporary print publisher and dealer with two galleries in New York and participates in art fairs in the United States, Asia, and Europe.
Pace African & Oceanic Art was established in 1971 as a gallery specializing in museum-quality antique African and Oceanic art. Both galleries are available worldwide for consultation regarding auctions; insurance appraisals; and conservation.
Artists Represented:
Nina Chanel Abney
Ghada Amer and Reza Farkhondeh
Donald Baechler
Kelsey Brookes
Jennifer Bartlett
Ingrid Calame
John Chamberlain
Francesco Clemente
Chuck Close
Nigel Cooke
George Condo
Mary Corse
Will Cotton
Agnes Denes
Tara Donovan
Leonardo Drew
Jean Dubuffet
Shepard Fairey
Fang Lijun
Günther Förg
Helen Frankenthaler
Barnaby Furnas
Tomoo Gokita
April Gornik
Adolph Gottlieb
Red Grooms
Peter Halley
Jane Hammond
Keith Haring
Mary Heilmann
Arturo Herrera
David Hockney
Loie Hollowell
Jenny Holtzer
How and Nosm
Shara Hughes
Alfred Jensen
Nicholas Krushenick
Robert Kushner
Austin Lee
SeaHyun Lee
Lee Ufan
Sol LeWitt
Li Songsong
Ling Jian
Nicola López
Sven Lukin
Robert Mangold
Ryan McGinness
Santi Moix
Paul Morrison
Wangechi Mutu
Yoshitomo Nara
Louise Nevelson
Don Nice
Kenneth Noland
Kenzo Okada
Claes Oldenburg
Erik Parker
Adam Pendleton
Emilio Perez
Qi Zhilong
Qin Feng
Syed_Haider Raza
Ed Ruscha
Robert Ryman
Lucas Samaras
Peter Saul
Kenny Scharf
Julian Schnabel
Mark Sheinkman
Kate Shepherd
Yasu Shibata
Alan Shields
James Siena
Shazia Sikander
Kiki Smith
Josh Sperling
William Steiger
Pat Steir
Donald Sultan
Mickalene Thomas
James Turrell
Dan Walsh
Karl Wirsum
Robin F. Williams
Jonas Wood
Jack Youngerman
Yue Minjun
Jian-Jun Zhang
Zhang Xiaogang
Joe Zucker


Courtesy Pace Prints OR Courtesy Pace Primitive

Online Programming

Jean Dubuffet

Jean Dubuffet: L'Hourloupe

Jean Dubuffet attached the neologism “L’Hourloupe” to the iconic body of work readily identifiable by the red, blue and white color palette with a thick black outline. “Abstract formal elements combine to generate a topography reminiscent of a picture puzzle, from which figures and objects constantly seem to emerge.”3 This cycle, which began in 1962 and was the subject of most of Dubuffet’s later works, began as drawings and soon after became prints, paintings and sculptures. In the U.S., major institutions and public plazas in New York, Philadelphia, Chicago and Houston all have monumental works by Dubuffet from his “L’Hourloupe” cycle. Pace Prints is honored to have worked directly with Jean Dubuffet through this period of time, making many of the prints and multiples that trace the history of “L’Hourloupe”. This online presentation explores the figures, structures and landscapes of Dubuffet’s iconography during this period.

Dan Walsh

Dan Walsh: Flexible Minimalism

Working with Pace Prints over the span of thirteen years, Dan Walsh has created prints in almost every medium. He allows the ideas of Minimalism and material investigation to inspire, but not limit, his printmaking practice. Our eighth online exhibition "Dan Walsh: Flexible Minimalism" delves into one of Pace Prints' most intentional, yet unpredictable collaborative relationships. The show traces the threads of seriality, materiality and modularity that constitute both the collective unity and the individual uniqueness of Walsh's prints.

Helen Frankenthaler

Helen Frankenthaler: In Her Mind's Eye

Pace Prints is happy to present "Helen Frankenthaler: In Her Mind's Eye," an exploration of the artist's woodcut prints. Our seventh online presentation, this exhibition offers a deep dive into Ukiyo-e woodblock printing, and Frankenthaler's transformative approach to the traditional Japanese technique. Master Printer Yasu Shibata, who printed Frankenthaler's woodcuts over the last two decades of her life, guides us through the making of these iconic prints.

James Turrell

James Turrell: Printing Light

In 2013, James Turrell’s installation "Aten Reign," at the Solomon R. Guggenheim Museum, transformed Frank Lloyd Wright’s iconic rotunda into what the artist called, “an architecture of space created with light.” Beginning that year, Turrell collaborated with Pace Prints master intaglio, ukiyo-e woodcut and digital printmakers to synthesize the experience of Aten Reign onto paper. "James Turrell: Printing Light" takes a closer look at the philosophical and technical nuance it takes to translate the artist’s luminosity to printed ink.

Austin Lee

Austin Lee: Virtual Δ Object

We are pleased to share our fifth online exhibition and our first solo presentation of the work of painter and sculptor, Austin Lee. Modeling his images from computer-based drawings through complex material reincarnations, Austin Lee doesn't mimic reality via digital means, rather he seizes on the uniquely open and unencumbered possibilities of the virtual to create new objects, applying his deft rendering skills to make the whimsical physical. Lee began work in the Pace Editions printshop in 2019 on an ambitious series of monoprints that expand his broad range of techniques even further. As he continues to develop his approach to printmaking, this exhibition takes us inside his process.

Keith Haring

Keith Haring & William S. Burroughs: Apocalypse

On what would have been Keith Haring’s 62nd birthday, we present Apocalypse (1988), a portfolio created by Keith Haring and William S. Burroughs. Burroughs’ voice is heard while viewing Keith Haring’s enduring works of art, in the series they created in response to the AIDS epidemic. Today, we listen with a new sense of understanding, as we are dealing with a global, rather than generational, plague. This recording is from Burroughs’ Dead City Radio, an album released by Island Records in 1990, and dedicated to Keith Haring.

Leonardo Drew

In his 30-plus years as an artist, Leonardo Drew’s installations have grown both massive in scale and intricate in detail. Through his experimentation with materials, the work has become more complex. Starting in 2012, Drew's collaborations with Pace Paper's Ruth Lingen and Akemi Martin have led him to experiment with the materiality of paper and allowed him to create work on an intimate scale as well as the largest cast paper pieces ever attempted.⁠ This exhibition traces the history of their collaboration and gives a glimpse into Drew's process in his own words.

Pat Steir

Pat Steir: "A Good Process for Thinking"

Pat Steir has collaborated with Pace Prints for over twenty years. In 2015, Master Printer Jo Watanabe installed a complete screenprinting workshop inside of Steir's studio to create the largest and most ambitious series of prints in her career. The resulting work is the culmination of Steir's fifty-year evolution as a printmaker, over which she has forged a unique and organic approach to the medium, where gesture, time and chance guide the outcome of each unique print. As this project reached its conclusion, we visited Steir in her studio, where she shared her thoughts on printmaking and her philosophy of art in general. What emerged is an intimate portrait of one of the most singular and original artists of our era.

Peter Saul

Peter Saul: No Convictions

Pace Prints is pleased to announce our first online exhibition, "Peter Saul: No Convictions." Narrated in video and audio by Saul himself, the show offers a survey of Saul's lifelong engagement with prints as an extension of his drawing and painting practices.

Past Exhibitions

Jean Dubuffet

February 5, 2021 - March 12, 2021
Pace Prints is pleased to announce the exhibition Jean Dubuffet, on view February 5 – March 12, 2021, on the third floor at 32 East 57th Street. This exhibition spotlights the final decade of Jean Dubuffet’s prolific printmaking career, a period during which the artist created prints on canvas, paper, silk and enamel in collaboration with Pace Editions. The lithographs and screenprints in the show range from the playful 1973 portfolio, Présences Fugaces— from the artist’s L’Hourloupe cycle—to his last edition, Lieu Virtuel, 1984. The exhibition at Pace Prints’ 32 East 57th Street gallery will be accompanied by an online presentation focused on Dubuffet’s L’Hourloupe prints.


January 16, 2021 - February 13, 2021
On view at Pace Prints, 521 West 26th Street, is Innovation, a group exhibition highlighting extraordinary works created in the Pace Editions studios over the past decade. The monotypes, unique works and editions in this exhibition demonstrate the unlimited possibilities of printmaking. Adam Pendleton’s Untitled, a unique set of fourteen relief prints with stenciled paper pulp, comprises the main wall of the gallery. Made using the wet papermaking process, Pendleton used stenciled paper pulp to create impossible to mimic marks. Widely recognized for his multi-disciplinary practice which seamlessly moves between mediums and genres, Pendleton deploys language and appropriated imagery in what he calls “Black Dada.” In his words, “Black Dada is a way to talk about the future while talking about the past.” Tara Donovan’s Untitled (Pin Prints) are editions, though non-traditional in their execution. Donovan utilizes everyday objects to explore transformative effects of accumulation and aggregation, which she brings to her printmaking. While seemingly random, the patterns in these prints are formed through the calculated act of arranging one sewing pin after another as they are hammered into a matrix. The heads of the pins are inked and transferred to create the image on the paper. Daniel Heidkamp’s Le Golfe is an accumulated scene, taking the viewer to the French Riviera. Included in the artist’s most recent exhibition, Amphora, with Pace Prints in 2020, Le Golfe is a tour de force in collage. Building the surfaces of rugged French cliffs and Mediterranean seascapes, Heidkamp layers richly pigmented Canson papers in every possible tone and tint. Taking cues from conceptual and minimal art, Dan Walsh constructs his work from self-imposed rules and procedures. For Profiles VI, Walsh created a jigsaw puzzle style matrix, where each part was moveable and could be inked separately. Using this matrix, Walsh was able to create a series of six progressive relief monoprints whose colors moved from light to dark. In subject matter, each composition is compiled of fifteen images, three rows of five, diverted vertically in two halves. Each row is categorized by his source imagery: the top is architectural, the middle is busts and vessels, and the bottom is vegetable and organic. Also included in this exhibition are works by Peter Halley, Nicola López and Qin Feng.

Jane Hammond, Arturo Herrera, Nicola López, Santi Moix, Wangechi Mutu and Kiki Smith

New Dimensions

August 4, 2020 - September 12, 2020
Pace Prints is pleased to present New Dimensions: Beyond the Boundaries of Printmaking a thematic group show to be presented simultaneously online and by appointment at 521 West 26th Street, through September 12. Pace Prints has long championed multi-dimensional prints, starting with Lucas Samaras’s 1968 Book, a boundary-breaking multiple that functioned as both sculpture and artist book. This founding project was followed by multiples made of cast resin, cast paper, silkscreened canvas and scrolls by Jean Dubuffet and Louise Nevelson in the 1970s. The goal at Pace Prints has always been to give an artist every possibility, even while making projects that challenge the broadly accepted concept of prints as ink on paper.​ New Dimensions focuses on six artists who exemplify experimentation in printmaking in the 21st Century: Jane Hammond, Arturo Herrera, Nicola López, Santi Moix, Wangechi Mutu and Kiki Smith. These works employ a wide range of printmaking techniques (collagraph, linocut, etching, screenprinting, digital printmaking) and a host of applied materials (mylar, vellum, collaged and cut paper, felt and gold leaf).

Nigel Cooke

February 1, 2020 - March 7, 2020
Pace Prints is pleased to present a series of new monoprints and etchings by Nigel Cooke at its 521 West 26th Street location. This is Cooke’s first exhibition with the gallery, and the artist’s first body of work in the monoprint medium. The exhibition will be on view February 1—March 7, 2020, and an opening reception will be held Friday January 31, 6–8pm . Nigel Cooke is known for his large-scale paintings that drift between the figurative world and the abstract. His subject matter is drawn from intimate personal memories, art history, and the natural landscape. In this new body of work, Cooke takes images and themes from his paintings, and gives them up to chance. Embracing the immediacy of the monoprint process, he paints directly onto a metal plate that is then run through the press. Unlike traditional painting, this technique of printing reverses all imagery, leaving the artist with less control. Cooke relies on his intuition, gives himself over to the separation of intention from result, and embraces the surprises that come out in the process. The build-up of multiple passes through the press produces what Cooke refers to as an “X-ray effect,” showing the process of how an image comes into being and exposing visible corrections and revisions. Viewing the prints as “remixes” of his paintings, Cooke uses this layering to further investigate the human relationship to nature and to blend aspects of life that do not typically go together. He places a bodily mass within a grid of natural structures; humanoid figures facing animals are forced to confront their narcissism of projecting onto nature. This juxtaposition is seen in Cap de Barbaria, where figure upon figure becomes a nucleus of chaotic line. Arms and legs condense, forming a subject that is no longer discernably human. This mass of entanglement thrashes between foreground and background, in a setting that, from the work’s title, holds a likeness to the rocky and desolate terrain of the Balearic Islands in the Spanish archipelago. The figure at odds with its landscape is seen again in Beasts of Burden, a set of two soft-ground etchings with pochoir. Cooke views this pair of etchings as a concretized version of what he learned through the monoprint process; etched on a copper plate, this image becomes fixed, no longer subject to the liquid behavior of ink. This time, the figures are not only confronting nature, but also each other. Facing one another, masked male and female forms become alienated from their distinct humanness. Pushing and pulling against their landscape of eyes, animals, cigarettes and branches, the figures remain the dominant beasts of the image.   Nigel Cooke was born in Manchester, England, in 1973 and lives and works in London and Kent. His work is included in public collections around the world, including the British Council, London, the Astrup Fearnley Museet for Moderne Kunst, Oslo, the Sammlung Goetz Collection, Munich, the Solomon R. Guggenheim Museum, New York, the Hammer Museum, Los Angeles, the Honart Museum, Tehran, the Museum of Contemporary Art, Los Angeles, the Museum of Modern Art, New York, and the Tate, London. Cooke shows with Pace Gallery internationally and has a one-person exhibition at its 540 West 25th Street, New York space, January 31—February 29, 2020.

Sol LeWitt

January 22, 2020 - February 22, 2020
Pace Prints is pleased to present an exhibition of prints and sculpture by Sol LeWitt, January 22 – February 22, 2020, at its 32 East 57th Street gallery. The exhibition will feature a portfolio of 30 prints entitled Open Cube on Color in Color (2003) and a sculpture from 1979 entitled Five Open Geometric Structures. This show highlights the serial nature of LeWitt’s ideas and their execution in two forms. Serial systems and their permutations function as a narrative that has to be understood. People still see things as visual objects without understanding what they are. They don’t understand that the visual part may be boring but it’s the narrative that’s interesting. It can be read as a story, just as music can be heard as form in time. The narrative of serial art works more like music than like literature. (LeWitt in Bomb Magazine, 2003) Five Open Geometric Structures exemplifies the artist’s practice, in which the open geometric form becomes the starting place for all three-dimensional form. Five open forms sit on a base, their structure easily accessible to the viewer’s eye. Rather than “conceptual” or “minimal”, the artist preferred that his work be considered “serial” and rather than sculpture his three-dimensional work would be called “structure”. This grouping of structures on a plinth calls to mind traditional sculptural presentation, while also echoing the tenets of what was then a new minimalist ideal in stark white and pure, rational form. Open Cube on Color in Color (2003) uses the theme of the cube and cycles through all combinations of the primary colors plus gray. For LeWitt, variation in color became a way to express finite seriality by combining colors in every permutation to make all combinations. As LeWitt stated, there is a narrative to the serial nature of this work. Using the cube as the central form, he plays out these variations like the motifs of composition variability he loved in music. Whether in structure or color, the serial nature of LeWitt’s work is central to its creation.

Contemporary Masters

September 26, 2019 - October 26, 2019

Santi Moix


September 20, 2019 - October 26, 2019

Sculptors' Prints

June 7, 2019 - August 2, 2019

Sculptor's Prints

June 7, 2019 - August 2, 2019

Alan Shields

April 19, 2019 - May 24, 2019

Kiki Smith

March 1, 2019 - April 6, 2019

LeWitt, Mangold, Martin, Ryman, Stella & Walsh

February 27, 2019 - April 6, 2019

David Hockney


January 22, 2019 - March 30, 2019


January 18, 2019 - February 23, 2019

Project Room: James Siena

January 18, 2019 - February 23, 2019


January 9, 2019 - February 16, 2019

Keith Haring


November 2, 2018 - December 21, 2018

David Hockney


October 31, 2018 - December 20, 2018

Nina Chanel Abney

October 26, 2018 - December 15, 2018

Welcome Back

September 12, 2018 - October 13, 2018

Louise Nevelson

Prints & Multiples

September 6, 2018 - October 20, 2018


June 21, 2018 - August 3, 2018


June 13, 2018 - July 27, 2018

Jean Dubuffet

Prints & Multiples

May 24, 2018 - July 13, 2018

Joel Shapiro

Etchings & Woodcuts

March 21, 2018 - April 21, 2018

Shara Hughes

Surprise Anxiety

March 2, 2018 - April 14, 2018

Project Room: Robert Ryman

March 2, 2018 - April 14, 2018


January 10, 2018 - March 17, 2018