New collectors, strong sales, and a bustling crowd show market strength at the IFPDA Print Fair

With lines around the block and robust sales, the world’s premier print fair saw record attendance and strong interest from a new generation of collectors.

Park Avenue Armory
643 Park Avenue, New York, NY

​OPENING DAY
VIP Preview Thursday, April 9, 2026
Invitation and VIP Pass Only
5 – 9 PM

PUBLIC HOURS Friday, April 10, 2026
11 AM – 7 PM
Saturday, April 11, 2026
11 AM – 7 PM
​Sunday, April 12, 2026
11 AM – 5 PM

On Sunday, March 30, the 2025 edition of the IFPDA Print Fair concluded with presentations from more than 70 galleries, publishers, and print studios from across the U.S., U.K., Canada, Europe, and Africa. Returning to the historic Park Avenue Armory, the Fair offered prints, editions, and drawings ranging from Old and Modern Masters to the ultra-contemporary, with prices from a few hundred dollars to just under $2 million.

Sales were notably strong during the bustling opening night and on closing day, with attendees racing to make acquisitions before the fair closed at 5 PM. Overall attendance increased 14%, with a 57% rise in VIP registrations and queues around the block on opening night, a testimony to the booming market for prints and multiples. More than 21,000 people attended the Fair over four days, including 5,000 visitors on opening night.

“This was hands down our most successful fair by every measure: sales, attendance, and the strength of the booth presentations and programming, ” said IFPDA Executive Director Jenny Gibbs.

“Opening night was spectacular, with our regular VIPs and an influx of new collectors who came to buy. I heard from exhibitors selling classic material—Miró, Chagall—to Gen Z clients who grew up with these names and were excited to acquire them for themselves.”

Across the Fair, works on view challenged traditional understandings of printmaking, expanding the medium through cast bronze works, textiles, and immersive installations. A centerpiece of this year’s fair was an extraordinary installation by noted artist Mickalene Thomas, titled l’espace entre les deux (2025).

Commissioned by the IFPDA, produced by the Jordan Schnitzer Family Foundation, and organized by Sharon Coplan with production assistance from Two Palms, Thomas’s installation greeted visitors upon entering the Fair.

Spread over two rooms, the work featured three-dimensional cast pulp paper plants, stacks of books, light fixtures, and screen-printed wallpapers and floors. These elements were complemented by Thomas’s iconic rhinestone-adorned collages of Black female subjects—recasting them as muses and models while referencing the 1970s African-American magazine Jet. Together, they created a striking trompe l’oeil illusion of stepping inside one of Thomas’s signature domestic interior paintings.

“The response to Mickalene Thomas’s installation at the IFPDA Print Fair was outstanding!” said Jordan Schnitzer, collector, philanthropist, and founder of the Jordan Schnitzer Family Foundation. “Working with print publisher Two Palms Press of New York, Mickalene Thomas pushed the envelope and created the most exciting work of art with paper that has ever been produced. Over 5,000 people attended the opening night, and standing with Mickalene, we saw how people were completely overwhelmed by her artistic genius.”

The IFPDA Print Fair will return to the Park Avenue Armory next year with new dates: April 9–12, 2026. The IFPDA has recently expanded its membership to include drawing dealers, and the 2026 fair promises to showcase more unique works on paper alongside its signature focus on prints and editions—from Old Masters to the ultra-contemporary.

Notable Sales

Highlights from the 2025 Fair included:

• A major screenprint on canvas by Jean Dubuffet, Site de Mémoire III (1979), sold for a reported six-figure price (Pace Prints).
• Works by Ruth Asawa, Hayley Barker, Katherine Bradford, Marcel Dzama, Nate Lowman, Yayoi Kusama, Donald Judd, Emma McIntyre, Raymond Pettibon, Elizabeth Peyton, Gerhard Richter, Ed Ruscha, Zeinab Saleh, and Josh Smith, priced between $1,200 and $250,000 (David Zwirner).
• A major new editioned mural by Rashid Johnson and new work by Amy Sherald (Hauser & Wirth).
• Works by Louise Bourgeois, Alyson Shotz, Kiki Smith, Rashid Johnson, Nari Ward, Thomas Schütte, and Donald Judd, priced from $5,000 to $140,000 (Carolina Nitsch).
• Major works by Roy Lichtenstein and Richard Serra (Gemini G.E.L. at Joni Moisant Weyl).
• Twelve works, including prints by Mel Bochner, Victoria Burge, Vija Celmins, Tara Donovan, Sol LeWitt, Agnes Martin, Sylvia Plimack Mangold, Liliana Porter, Kay Rosen, Lorna Simpson, and Kiki Smith (Krakow Witkin Gallery).
• A large etching by Grayson Perry, priced between $60,000 and $75,000, several etchings from David Hockney’s Six Fairy Tales from the Brothers Grimm (1969), and works by Jonas Wood, George Condo, Rashid Johnson, and Jane Hammond, as well as a rare 19th-century woodblock print by Swiss artist Félix Vallotton (Galerie Maximillian).
• Prints by George Condo, Henri Matisse, Jane Hammond, and Richard Serra (Berggruen Gallery).
• Multiple sets of prints by Yinka Ilori, and other works by Christiane Baumgartner, Yinka Shonibare CBE, and Cornelia Parker (Cristea Roberts Gallery).
• Works by Etel Adnan, Jacqueline de Jong, Sean Scully, Kiki Smith, Donald Judd, Marion Verboom, Jean Dubuffet, and Louise Nevelson, ranging from $2,000 to $11,000 (Lelong Editions).
• A screenprint by Njideka Akunyili Crosby, The Beautyful Ones May Have Arrived, sold for $50,000, and Seitu Ken Jones’s Self Reflection and Front Reflection (a set of two prints) sold for $3,400 each (Highpoint Center for Printmaking).
• A $30,000 woodcut by Friedrich Capelari (Hill-Stone).
• An impression of The Declaration of Independence printed in 1833 on parchment-type paper for Peter Force, following his request to the State Department (The Old Print Shop Inc.).
• A $23,000 portfolio of prints by artists Karen J. Revis, Althea Murphy-Price, LaToya M. Hobbs, and Tanekeya W. Harris (Black Women of Print).
• Several editions by Sarah Crowner, and others by Martin Puryear, Stanley Whitney, Charline von Heyl, and Marina Adams (ULAE).
• Works by Katherine Bradford (Divers), José Antonio Suárez Londoño (El Río and Herkimer. Desvelos), and Vija Celmins (Snowflakes), ranging from $1,500 to $20,000 (Harlan & Weaver).
• Two impressions of a $10,000 etching by Elizabeth Peyton and one impression of a $5,500 etching by John Currin (The Paris Review).
• Prints by George Condo, Louis Fratino, and Kara Walker (Burnet Editions).
• Works by Edward Hopper and Carol Wax (Childs Gallery).

BNY Wealth Exhibition and Fair Programming

BNY Wealth—the Fair’s VIP Partner—presented a special exhibition featuring selections from the BNY Archives and Art Collection, curated by art historian and author Susan Tallman.

Drawing inspiration from a letter written by Alexander Hamilton to George Washington on “the subject of money,” the exhibition explored the inextricable links between nation, money, and art. It established a dialogue between historical and colonial American artifacts and contemporary works.

Among the highlights were Ed Ruscha’s Paradise (1986) and Jasper Johns’s monumental pair of prints Flags I and II (1973), published by ULAE—both of which drew particular admiration from visitors. Also on view was a rare copper plate used for engraving an early stock certificate from the Bank of New York, the first publicly traded company associated with the New York Stock Exchange.

Talks and Programming

The Fair’s programming drew full audiences and strong engagement throughout. Highlights included artist talks with David Salle, Terry Winters, Christiane Baumgartner, and Mickalene Thomas in conversation with collector Jordan Schnitzer.

Curators from leading institutions—including The Metropolitan Museum of Art, Smithsonian American Art Museum, Harvard Art Museums, Milwaukee Art Museum, The Blanton Museum of Art, and The Courtauld Institute of Art—also participated in panels and discussions.

Awards and Grants

The 13th Annual Richard Hamilton Acquisition Prize, funded by ChampionScott Partners, was awarded to the Asheville Art Museum (North Carolina). The $10,000 prize supports museum acquisitions made at the IFPDA Print Fair. The museum used the funds to acquire Robert Rauschenberg’s Autobiography (1968) from Josh Pazda Hiram Butler, and Dorothea Rockburne’s W.I.M.P. #2 (1999) from Gemini G.E.L. at Joni Moisant Weyl.

The second edition of the IFPDA Foundation’s Curatorial Travel Grant Program awarded grants to curators attending from the following institutions:

• Kunsthaus Zürich (Zurich, Switzerland)
• Hayward Gallery, The Courtauld Institute of Art, and Whitechapel Gallery (London, U.K.)
• Museum of Fine Arts Leipzig (Leipzig, Germany)
• Asheville Art Museum (Asheville, NC)
• Staatliche Schlösser, Gärten und Kunstsammlungen Mecklenburg-Vorpommern (Schwerin, Germany)
• California African American Museum (Los Angeles, CA)
• San Antonio Museum of Art (San Antonio, TX)
• Queensland Art Gallery | Gallery of Modern Art (South Brisbane, QLD, Australia)
• Worcester Art Museum (Worcester, MA)

Notable Attendees

The 2025 IFPDA Print Fair welcomed an impressive roster of distinguished guests from across the art world. Among them was Larry Gagosian, who spent several hours exploring the Fair on closing day, along with prominent collectors Jordan Schnitzer and Janice Oresman.

Artists in attendance included Marilyn Minter, Mickalene Thomas, Lothar Osterburg, Yashua Klos, Polly Apfelbaum, Cavier Coleman, Kiya Kim, Christiane Baumgartner, Kiki Smith, Jamel Robinson, Andrew Raftery, Laura McPhee, Judith Solodkin, and Derrick Adams.

The Fair also drew numerous prominent museum curators, including Christophe Cherix, newly appointed Director of the Museum of Modern Art (MoMA) and former Chief Curator of Drawings and Prints; Adam Weinberg, former Alice Pratt Brown Director of the Whitney Museum of American Art; Nadine Orenstein, Drew Heinz Curator in Charge of Drawings and Prints at The Metropolitan Museum of Art; Esther Adler, Curator in the Department of Drawings and Prints at MoMA; Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums; Constance McPhee, Drawings & Prints Curator at The Met; Marjorie Shelley, Senior Conservator at The Met; Catherine Daunt, Curator of Modern and Contemporary Prints at the British Museum; and Clare Bell, Associate Director at the New York Public Library.

Other notable attendees included independent curator, art advisor, and publisher Sharon Coplan; former Armory Show director Nicole Berry; novelist Angela Flournoy; Michael Novak, Artistic Director of the Paul Taylor Dance Company; art dealer and curator Maty Sall; multi-hyphenate performer and comedian Tina Fey; and Nolé Marin, widely recognized as a judge on America’s Next Top Model.

Exhibitor Quotes

“The Fair had such great energy. I loved seeing so many young people interested and buying. The IFPDA Print Fair has become a world-class event, simply unparalleled — where else can you see such a range, from exquisite Munch and German Expressionists to master prints by Ed Ruscha and Richard Serra, and even a site-specific installation by Mickalene Thomas.”
— Carolina Nitsch, Owner, Carolina Nitsch Gallery (New York, NY)

“The Print Fair was livelier than ever, with a great mix of collectors in attendance. We always meet many new people at this fair who are deeply engaged and eager to learn about the works we have on view.”
— Elleree Erdos, Director of Prints & Editions, David Zwirner (New York, NY)

“We had a great fair — and great sales. The quality of the visitors, in addition to the quantity, has been exceptional!”
— Joni Weyl, Owner, Gemini G.E.L. at Joni Moisant Weyl (New York, NY)

“It was busy, busy, busy every day with lots of enthusiastic new and returning collectors. We saw so many of our Aspen and New York collectors at the fair, which was incredibly rewarding. We sold across the board, including many of David Hockney’s Six Fairy Tales from the Brothers Grimm etchings (1969). Other notable sales included works by Jonas Wood, George Condo, Grayson Perry, Rashid Johnson, several works by Jane Hammond, and a rare 19th-century woodblock print by Swiss artist Félix Vallotton. Being back at the Armory was amazing — and nostalgic — as I’ve been coming here for various art shows for decades.”
— Albert Sanford, Owner, Galerie Maximillian (Aspen, CO)

“At IFPDA, we find profound pleasure in the sense of community that flourishes here. One experiences the continuum of time — past, present, and future — reflected in the art on the walls and in the interactions with fellow attendees. Immersing oneself in the diverse environments and aesthetics of each booth is truly captivating, offering invaluable lessons about the richness of our shared cultural landscape. Within the print community, it’s vital to recognize the multitude of personalities and subcultures that coexist. There is space for everyone; sometimes it’s simply in a different setting — and that is perfectly fine.”
— Dr. Tanekeya W. Harris, Founder and Artist, Black Women of Print (United States)

“Berggruen Gallery is proud to have exhibited at this edition of the IFPDA Print Fair, marking our first year of participation. The gallery was thrilled to see the engagement of local collectors, curators, students, and artists.”
— Sloane Black, Digital Communications Manager, Berggruen Gallery (San Francisco, CA)

“The Fair was a great success with strong sales and many new connections. Happily, we sold works by nine different artists.”
— Andrew Witkin, Co-Founder, Krakow Witkin Gallery (Boston, MA)

“We were delighted with sales at the IFPDA, with works ranging from $1,000–$30,000. Highlights included multiple copies of Christiane Baumgartner’s major new Fuji woodcut, several sets of Yinka Ilori’s new portfolio Paradise for All, as well as works by Yinka Shonibare, Anni Albers, Cornelia Parker, and Clare Woods.”
— David Cleaton-Roberts, Co-Director, Cristea Roberts Gallery (London, U.K.)

“The 2025 IFPDA Print Fair managed to expand on the great success of the IFPDA’s 2024 return to the Park Avenue Armory. Curators, artists, and collectors relish the opportunity to see new works alongside historical and museum-worthy prints made over the last 550 years. The Fair has a family-reunion-like atmosphere, as friends gather from all over the world to catch up and collect the treasures offered by our member dealers.”
— Ron Rumford, Dolan//Maxwell (Philadelphia, PA)

“There was a lot of good energy at the Fair — positive feedback and strong accompanying sales.”
— Gregory Burnet, Founder, Burnet Editions (New York, NY)

“It was a great show — heartwarming to see so many people come out to visit and enjoy the vast selection of art on display.”
— John Szoke, Owner, John Szoke Gallery (New York, NY)

“The Fair was busy and bustling with collectors of all ages ready to support the printmaking arts! We met many enthusiastic visitors eager to learn more about printmaking, as well as seasoned collectors hungry for the technical and artistic details behind the works. It was exciting to see collectors supporting both emerging artists on a national stage and established names in the field.”
— Alex Blaisdell, Gallery Director, Highpoint Center for Printmaking (Minneapolis, MN)

IFPDA Print Fair 2025 – Exhibitor List

The 2025 IFPDA Print Fair brought together an exceptional roster of exhibitors — leading international galleries, publishers, and institutions dedicated to the art of printmaking and works on paper.

Exhibitors:

• Anderson Ranch Arts Center (Invitational)
• Atelier-Galerie A. Piroir
• Berggruen Gallery
• Bernard Jacobson Graphics
• Black Women of Print (Invitational)
• BNY Wealth (Special Project)
• Borch Editions
• Burnet Editions
• Cade Tompkins Projects
• Carolina Nitsch
• Center Street Studio
• Childs Gallery
• Cirrus Gallery & Cirrus Editions Ltd.
• Cristea Roberts Gallery
• Crown Point Press
• David Zwirner
• Dolan//Maxwell
• Durham Press
• F.L. Braswell Fine Art
• Flowers Gallery
• Flying Horse Editions
• Fredric Snitzer Gallery
• Galerie Maximillian
• Galerie Myrtis – Fine Art & Advisory
• Gallery Neptune & Brown
• Gemini G.E.L. at Joni Moisant Weyl
• Georgina Kelman :: Works on Paper
• Gilden’s Art Gallery
• Goya Contemporary Gallery / Goya-Girl Press
• Graphicstudio | USF
• Harlan & Weaver
• Hauser & Wirth
• Highpoint Editions
• Hill-Stone
• Isselbacher Gallery
• Jim Kempner Fine Art
• John Szoke Gallery
• Jörg Maass Kunsthandel
• Jungle Press Editions
• Knust Kunz Gallery Editions
• Krakow Witkin Gallery
• Lelong Editions
• LeRoy Neiman Center for Print Studies
• Lower East Side Printshop
• Manneken Press
• Mixografia
• Pace Prints
• Paragon
• Paramour Fine Arts
• Paulson Fontaine Press
• Josh Pazda Hiram Butler
• Peter Blum Gallery
• Planthouse
• Polígrafa Obra Gràfica
• Print Center New York (Invitational)
• Rabley Gallery
• Rosenberg & Co. (Invitational)
• Shore Publishing
• Stoney Road Press
• Tamarind Institute
• Tandem Press
• The Artists’ Press (Invitational)
• The Fabric Workshop and Museum (Invitational)
• The Old Print Shop
• The Paris Review (Invitational)
• The Tolman Collection Tokyo
• ULAE
• Weyhe Gallery
• William P. Carl Fine Prints
• Wingate Studio
• World House Editions
• Zucker Art Books

Immersive Installation by Mickalene Thomas

An immersive, site-specific installation composed of works on paper and printed matter by Mickalene Thomas anchored the 2025 IFPDA Print Fair. The installation was sponsored by the Jordan Schnitzer Family Foundation and Two Palms, highlighting Thomas’s innovative engagement with printmaking and spatial design.

Press Contacts

Caterina Berardi
Director, Cultural Counsel
📧 [email protected]

Alexander Droesch
Senior Account Executive, Cultural Counsel
📧 [email protected]

About the IFPDA and IFPDA Foundation

Founded in 1987, the International Fine Print Dealers Association (IFPDA) is the world’s leading organization dedicated to fine art prints — spanning Old Masters to contemporary works — with over 150 members vetted for excellence in quality, value, and professionalism.

Each year, the IFPDA presents the IFPDA Print Fair in New York, the largest international art fair devoted exclusively to prints and printmaking, representing more than 550 years of print history.

Proceeds from the Fair benefit the IFPDA Foundation, which supports museums and nonprofit organizations through grants for curatorial internships, exhibitions, research, educational initiatives, and scholarly publications.

Through its public programming, digital presence, and global network, the IFPDA promotes knowledge, fosters scholarship, and encourages dialogue around collecting prints. The annual IFPDA Book Award recognizes outstanding scholarly excellence and original research in the field of print studies.