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Fit to Print

The market for prints and editions is being reborn as big galleries like Zwirner and Gladstone get involved. For artists, it’s an opportunity to step out of the studio. But for indie printmakers, who face high up-front costs, the economics can be complicated.

David Zwirner
From the outside, prints look like a great opportunity for artists to test the market—to take successful images and make them more accessible by producing them in multiples and selling them at much lower prices than paintings. Although some of that is undoubtedly true, reproducing images is merely one aspect of printmaking. Photo: Courtesy of David Zwirner
Marion Maneker
February 20, 2026

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I first met Elleree Erdos, David Zwirner’s dark-haired, diminutive director of prints and editions, in her light-filled office tucked at the end of a hallway in Zwirner’s 20th Street headquarters last summer. I had been curious for some time about the prints and editions market, which has been experiencing a bit of a renaissance recently as more of the big galleries get involved. Then, earlier this year, I was reminded of those conversations when Zwirner hosted Breakthrough: Prints from ULAE—an exhibition from Universal Limited Art Editions. The Long Island publisher worked with some of the artists I’ve been writing about these past few weeks, like Helen Frankenthaler and Jasper Johns. If you’re free tomorrow, there’s one last day to catch the show, at the gallery’s 21st Street location.