New York Print Week 2026

This week Darcy and Huck (finally) recap New York Print Week 2026.  Explained as  “Fashion Week for prints,” centered on IFPDA and The Brooklyn Fine Art Fair, plus satellite fairs, gallery shows, and talks.  Listen in to hear about how Monkey Mountain Khronikle became a crowd-pleasing interactive “head-exploder,”  Jen’s meticulous booth prep, laugh about a decal mishap, and swap survival notes on stomach bugs, meds mishaps, and commuting mistakes.

Transcript

SPEAKER_01 0:58

Welcome back to the Evil Friends Podcast.

SPEAKER_00 1:01

What are we going to talk about today? What do you want to know?

SPEAKER_01 1:04

We are going to do a little print week recap. New York Print Week slash the Brooklyn Fine Art Print Fair that we were at in April. April 9th through 12th.

SPEAKER_00 1:15

Yeah, we're running a little bit late on our summation. A little bit. But that's okay because we've been busy.

SPEAKER_01 1:21

We've got a lot of catch-up. Okay, so you know, not everybody out there might know what New York Print Week is or the significance. So give us a little recap of that and how you ended up in Brooklyn.

SPEAKER_00 1:32

All right. Well, New York Print Week is like fashion week, but for print, the print world part of the art world. Fine art editions and such and all the big shops travel from all over the world to show their wares. Alright, so New York Print Week is the big it's like fashion week, but for prints. And all the print shops come around, they come from all over the world to show their latest productions, basically, the their latest editions. And the it centers around the IFPDA, which their big show, which for years and years and years, it was at the New York Armory. And then for a few years after that, it was at the Javit Center. And now they have relocated back to the Armory, which is a cool venue. And there are always satellite fairs, which is another fair. It used to be the Editions and Artist Book Fair, the EAB, which we did a few years. And that's the other fair, but they always happen during the same week. And so it's New York Print Week. And there are all kinds of shows at galleries, and the museums tend to have print theme shows in their prints and drawings departments, and there are speakers and you know, panel discussions. It's it's it's great, great fun for fans of prints and artists that make prints and print curators. It's great for everybody, art historians. It's something that I look forward to every year. Back when I was a kid, the first time that I ever had a print up at Print Week was at the New York Armory for the IFPDA with Landfall Press. They had a print of mine called The Hogscalders, which is funny because we showed the Hog Scalders this year. That's right, full circle. And it's the first time that it had been shown at Print Week since it was out in 1999. So, but and it's a big deal, especially if you're an independent like I am. I'm a self-publisher, so I'm basically, I don't want to call it competing, but I'm on I'm having to show at the same level with the big print shops that have stables of artists. And it took a long time for me to be able to get accepted into that realm where I can go to print week and show at that level. So, but to do that, it's a lot of work. It is a tremendous amount of money, it's very expensive, it takes it's expensive to go, it's expensive to prep, it's expensive to stay for that week, and because there's shipping involved, if you do that, there's driving involved, which is what we do. There's framing involved, there's food involved, there's hotels involved, and it's an expensive, you know, to put it mildly, New York is one of the most expensive places in the freaking world. So there for a week, it can really, really be tough, especially on an independent such as myself. Most of the time, the sales are very minimal, which is when you're telling people about this with what you spend on a booth, which is a lot of money. I'm not gonna get into specifics here, but it's a lot. And if you there are no guarantees that you're going to sell anything, but what happens is I have to show now at print week because that's where the clientele that I am most noticed by are at.

SPEAKER_01 5:36

Curators, curators, of museums, galleries, that kind of thing.

SPEAKER_00 5:43

And dealers and all that. But I have to show there I'm I'm getting to the point where I need to take a year off, which I may end up doing, but it's a big undertaking to do it every year. And this year, the Brooklyn Fine Art Print Fair was in is in its second year, and it's run by this amazing woman named Ann Schaefer. Those of you that don't know, she's the person that does runs and the genius behind Platemark, the Plate Mark podcast, which I've been on a couple times, and it's the best printmaking podcast, really, out there. Hello Print Friends, great too. But like Anne's is an artist, has a lot of art historical perspective that's talked about.

SPEAKER_01 6:32

It's definitely better than this stupid podcast.

SPEAKER_00 6:34

Better better than this turd. That's for sure. So we we did it this year, and it was your first print week. It was you and Nikki, it was both of your first ones, and we had the wonderful Diana, who's worked for us for it, was the third year she's worked our booth for us. This year, because I'm in between bodies of work, I didn't have anything really new with a couple of exceptions.

SPEAKER_01 7:08

So you did, I think this is cool. We just talked about the uh trip tick you're working on. You did have the two sides. I have one of the sides up. You didn't, you had one on each side. No, I didn't. You promise you did because I showed everybody and I walked in.

SPEAKER_00 7:20

No, there was only one of them up. There's two. There was only one. You sure? I'm positive. I'm gonna go back and pull it up. Because Carlos's was on that wall. It was that one by Carlos's work. That was it, that was I'm gonna pull it up too. Did we we had it on the outside wall? Okay. You're I think you're right. You're absolutely right. I think I'm I'm missing that because we It's because we didn't have them next to it. We put that in at the last minute, too.

SPEAKER_01 7:42

Yeah.

SPEAKER_00 7:43

But it fit the space really well. So it is a big deal to install a booth, and thankfully, I live with a professional art fair booth maker. Jennifer, that's right, my wife, she did it for 20 years for her gallery in Kansas City, her mom's gallery and her gallery, Cherry Lee Contemporary Art. Jen.

SPEAKER_01 8:09

She had everything scripted out for us.

SPEAKER_00 8:13

We spent a month on that before we went, getting everything ready on the home front.

SPEAKER_01 8:17

And Jen normally joins of family commitments, and so that was a little scary, I think. But like the talk of the town when we arrived was how well put together those bins were to make setup easy. So shout out to Jen.

SPEAKER_00 8:32

We were like, every she had it scripted out. Okay, when you unbox this, this is what is in there, this is where it goes. And we're just following directions when we land on the shore, basically, of powerhouse, and we're we went and did exactly what she told us to do, and the booth looked freaking fantastic.

SPEAKER_01 8:50

That was fantastic, and I think the reception was fantastic.

SPEAKER_00 8:52

It was unbelievable. This fair, it is normally not like this. It I've had I've been doing it for almost print week in various incarnations. We even did our own fair one year. And this year was the best it has ever been. And there was a point you were there, it was on Saturday at around 2 30, and I actually thought we weren't going to be able to handle what was going on in the booth. Just because the amount of people that we the amount of people with the people that were buying stuff, people wanted signed books, people were asking questions, we were showing multiple pieces at the same time, one on the side out wall and one in the booth. We had a lot going on. I was signing a lot of stuff, and and there were people filming at the same time and all that stuff. It was insane. And this year, what's funny is I put up that print of mine, Bet of Bones, which out of the kindness of his heart, Mark Niesman from Lococo Fine Art Publishing Publishing acquired it at auction. That print is long sold out.

SPEAKER_01 10:17

Oh my gosh.

SPEAKER_00 10:18

It's been sold out for 20 years. We put that print up, and in the first 30 minutes, we had sold it and paid for the booth. That's amazing. And it was like that for everybody. I think all of the booths, I don't know if you noticed it, they were busy. It was very busy.

SPEAKER_01 10:41

And correct me if I'm wrong, was this the second year that Brooklyn Fine Art Print Fair actually ran? It's the second year. So it was massive. Everything was so well attended. It was it was massive.

SPEAKER_00 11:04

And it's your first year. So I know I gave you my VIP passes so that you could go to the IFPDA and you could look because I what I told you before, we you went, and I've told you this for a few years. It's in it was important for you to go see and look at how people do this and soak in the fact that you can go to a bin full of Rembrandt. Oh my god. And flip through them like records, basically.

SPEAKER_01 11:37

It was mind blikky and I were walking through like, oh my gosh. Wait, stop, stop, stop, we gotta move back and wait for those people to leave. Is that a is that a tiny door? And like, yeah, yes, it was. Yeah. It was multiple. Yeah, it's pretty amazing. Like out in little tiny frames. Yeah. Right there. Just right there. The rhino, the rhinous rush was on the wall.

SPEAKER_00 11:56

Oh, you see, I didn't get to go over to IFPDA this year. It was so busy. It was. It was so busy.

SPEAKER_01 12:02

It's funny, the initial intention was for Nikki and I to switch days and actually like one of the things.

SPEAKER_00 12:08

So that one of you could be working for me and then the other could go to the IPDA.

SPEAKER_01 12:12

We we just squeaked it in at the end because it ended up being busy. And I think that actually had a well, and they had a rhinoceros. Yes, they did.

SPEAKER_00 12:19

You saw the rhino.

SPEAKER_01 12:20

I saw the rhino.

SPEAKER_00 12:21

In that kick ass. Everybody was talking about that. It's so funny how we talked about magic prints. That's what it is. You it was like the rhinoceros was actually at IFPDA. People were talking about a real rhinoceros there or something. That's a rhino. It was whispers. Like I heard the whispers. There was a rhinoceros there. That is so fucking cool that a print can cause that kind of even now, there's something about that. And that's that's print we. I love that.

SPEAKER_01 12:57

That like it's it is cool. It's where everybody comes together who appreciates it. Appreciates it and wants to learn. It was neat too how many people were new or were coming with folks, so they knew nothing about it. And they would get really interested when you started explaining the process to them, and they could kind of see it.

SPEAKER_00 13:17

Fairs in general are a slog. Okay, like I sat, I've sat on a Sunday the last day, hung over, exhausted from and with a 20-hour drive in front of you and then and a four-hour unload load in and a load up, loadout is the word, the phrase. A four-hour loadout with a 20-hour drive in front of you where no one is there and you haven't sold anything for four days at four days.

SPEAKER_01 13:52

Well, I think it was a surprise too, because what you had mentioned before is oftentimes at these fairs, especially with the price point on some of your larger works and who's acquiring them, such as curators and it's like you're putting feelers out, but the way museums and the funding for that works, it's months down the road. Oh, years sometimes.

SPEAKER_00 14:12

Because we've got one museum that's interested in Monkey Mountain Chronicle. And we had Monkey Mountain Chronicle this year out on a table.

SPEAKER_01 14:20

Yes. I want to talk about the booth after this.

SPEAKER_00 14:22

Where it was open, we had Deanna opening and closing it, which is the way, the secondary way that it's made to be seen. Or primary, I don't know. You could flip them on a table or upright in a big vitrine as a devotional object. Well, we just decided to roll with it, and it was opened and closed a million times for people. And there was a big ooh and the office.

SPEAKER_01 14:47

It was the best when you were working the center, and people would come in and they'd just be like enjoying it closed, which is not even the most highly detailed part. No, and then when you open it, we'd go, Do you want us to open it for you? They're like, What? And then their heads exploded. It was great. It was fun. It was fun, it was fun, it was so interactive. Seeing people react to that. And then when you like flip the perdello to and explain, like, well, the back actually also has a piece and how many blocks. It was a very interesting and interactive way for people to get to experience the piece.

SPEAKER_00 15:23

It was very cool. The booth was great. We showed Carlos's latest collages. We were so close to selling a Carlos. I thought, man, we're gonna sell one. And the people didn't come back. Oh. And we showed Fick. We had Bill Fick's work.

SPEAKER_01 15:44

Who was the woman that's no?

SPEAKER_00 15:46

I'm sorry, we didn't have Bill's work. I apologize to him that we didn't this year. Claire. Claire Robbins. From Scotland. From Scotland. And her work is unbelievable. I thought we were gonna sell one of those two, and it just didn't happen. But you see what's funny about print fairs though, people will contact you after. Right. That happens. What Jen taught me about fairs, and I when I say Jen, I say Jennifer Bowerman, my wife. What she taught me is that it's about follow-up after. You you get a card, you get a contact info, you make a note of what they liked on the card, and then you follow up in an email a week later. Okay. And then you you start a dialogue, and sometimes they'll say, Well, you know, we're we're we're not able to make do anything right now, but I will keep you in mind for the future. Or someone will say, Yeah, we're well, we're ready to start the process of acquiring this. Or if it's a person, an individual that's buying, they'll either say yay or nay, and they might give you your damn credit card inform their credit card info and buy the damn thing and then you ship it to them. We sold a lot of my small stuff this year. We sold a lot of posters. Oh, yeah, we did. We sold a lot of the books. We sold a lot of books. It was great. It was, and I just wish we could have sold a Claire and a and a Carlos. I I just we're gonna have to rethink that probably in the future because I I've had this conversation with Carlos. Probably next year, my year off, we're gonna do an outlaw printmaker booth to where the responsibility is shared and you can give more wall space to Carlos because ultimately what is happening what happens here is when you're an independent, wall space is prime real estate. And if someone's interested in my work, I have to give them all my attention in dealing with trying to make that sale. And Carlos needs more than that. Claire needs more than that, deserves more than that, than I'm able really to give. We will always show other artists' work, obviously, but in the outlaw printmaker booth, we'll have more wall space and the artists can be there to pitch their own stuff and act as their own voice instead of me talking or you or Deanna talking about Carlos. You know, sometimes the artists themselves, especially in print, are the best salesman, not always, or just more wall space.

SPEAKER_01 18:22

Well, it also just makes it more relatable if you know if it's not somebody who's a diehard fan who either is already a collector to get them to become a collector. Oftentimes you've got to get them interested in the story or have some sort of personal feeling in the meeting, or sometimes they're just ready to buy and that's it.

SPEAKER_00 18:43

I mean, I know Carlos sold something like that at uh South by Southwest, a big thing.

SPEAKER_01 18:48

I mean, yeah, you know, it's such a mix of it's funny. It as you were talking about it, the world word that came to mind is like it really is just a hustle. Like, because people are going to forget, like we talked about before, nobody needs your art. No. Or my art or Carlos's art. Like Well, they do, they just don't know they do. They do, they just don't know. And in this economy and with everything going on, yeah, you know, sometimes making people realize that it is a worthy purchase for them or something they can afford and and has meaning other than just display. Yeah. Yeah, no. If they're not already, again, like art collectors and and people who already have the knack and the the desire to be purchasing art. Yeah.

SPEAKER_00 19:32

As an as an aside that the for listeners that aren't familiar, this is a curated fair. It's not just you can't just go online and first come, first served, buy a buy a booth. Like it took me years to be able to be invited to to show. And it's a pay-to-play thing, but at that level it has to be. Right. You know, and it's it is a curated thing. And over the years, I drifted away from SGC, M A P C those gatherings, which were way uh were pretty predominantly academic gatherings run by schools or run by school administrators and that sort of thing. I drifted away, and my friends did, because one of the mistakes that SGC, and I'm just gonna say it, one of the big mistakes that SGC has made over many, many years, is they didn't focus on the thing that they did best, which is featuring student work at open portfolios. Yeah, they should build the entire conference around the open portfolio as the main event and attraction and give people more than 30 freaking minutes to show their wares, okay? Which is more in line with an art fair, okay. Right. I loved going to SGC in the early days and getting to see student work and what was going on. Give the kids a shot. SGC, and we won't get super into it because there's a lot more problems with it, but that was one of the coolest things. Whereas print week is like the best of SGC on steroids. You're seeing the art world. SGC is not the art world, okay? Doesn't have anything to do with the art world. Maybe there's a little overlap that you've got an artist. It's academia. It's academia, okay. And so I start, you know, once I realized what print week was, I had like a different perspective on I don't want to say that SGC is not serious because it is, because but I'm trying to make a living here, right? And you know, I have to get my work to a certain client level of clientele. And so I drifted from those, and print week became it for me. My yearly, like, hey, and you know what? People are starting to pick up on that in a broader sense.

SPEAKER_02 22:16

Yeah.

SPEAKER_00 22:17

There are schools that were out there this year, which was had booths, and there are two printmakers, and I'm gonna they're gonna laugh if they hear this. I mean no disrespect. I mean this is the biggest compliment. Old schoolers. Artworker and Karen Koontz. Karen Koontz, man, both of those people are badass print teachers who actually were there this year. That was huge and great to see. They're fantastic printmakers. Yeah. It was and they it was great that they were there. Once again, if y'all don't know, check them out. Artworker does amazing mesitants, etching. And Karen Kuntz does these amazing, beautiful color Japanese style woodcuts. They're just gorgeous. And I've known her, she knew me when I was a kid. And I've known both of those artists for many, many years now. They knew me when I was a kid. And but it was amazing to see them there. So it is expanding print week via the Brooklyn Fair. Now the IFPDA is awesome, but it's pretty traditional. It is. It's dealers. The Brooklyn Fine Art Print Fair is at Powerhouse, and Luther Davis, who's basically the head of that print division there situation, is unbelievable. It's like freaking NASA of contemporary printmaking. That's badass. It's unbelievable. And then An between Luther and Brian and the whole bunch that runs the print fair there, they're expanding the notion of print week. And I know that there's going to start being probably some cooperation between the IFPDA and the Brooklyn Fine Art Print Fair. And I think the more the merrier and the bigger the better. And I don't know how they are going to top this past year, which they will because they're good.

SPEAKER_01 24:12

I can't believe this is only the second year.

SPEAKER_00 24:15

That's the thing. It was great the first year. It was great the first year. We were like really pleased. And I sold a few things, a couple things. But like I said though, there are years, many years, where I haven't sold anything, and I've put out what $20,000 to do print week. And that's all for my sales, kids. That's rough. Yeah. But that's you, you, you gotta put on your big boy pants and do it, you know. The work has to be good. You gotta semi-know what you're doing, but it's worth it. So print week, it was really cool though that you and Nikki got to go. That was awesome. For the first time, because Nikki's been mad at me. We're talking about Nikki Arnold, who worked for who has saved Evil Prince's ass so many times as one of my crew over the years. And you have saved my ass too. You guys have been mad at me because we I always wanted to take you guys, and this year you made it happen. You just you and Nikki just were like, and because of some of the other secret stuff that we've got going that will be announced probably late summer.

SPEAKER_01 25:29

Yes.

SPEAKER_00 25:30

You have to go now.

SPEAKER_01 25:32

Yeah.

SPEAKER_00 25:33

You have to.

SPEAKER_01 25:34

And it was cool. It was amazing. Outside of dysentery, but we made it.

unknown 25:40

What?

SPEAKER_01 25:41

Dysentery. Shitting yourself, just shitting relentlessly. Diarrhea.

SPEAKER_00 25:47

Oh, we're going there. Okay. What what from? A stomach bug that I got. What'd you eat out there?

SPEAKER_01 25:53

No, it happened literally like right before I was supposed to leave.

SPEAKER_00 25:55

What'd you eat here? And then get on a damn plane. Oh, I worked with preschoolers. Oh.

SPEAKER_01 26:00

I subbed in a classroom where the teacher was out for where the stomach bugs on a Friday.

SPEAKER_00 26:06

No wonder you were late.

SPEAKER_01 26:06

And then I went so many times. But I was like, I'm making it. I was just chugging Pepto Bismol.

SPEAKER_00 26:13

Oh man. Just praying. Getting sick when you're doing a public event like that is absolutely the freaking worst.

SPEAKER_01 26:21

It was rough, but it's okay because we made it.

SPEAKER_00 26:24

It reminds me like last year, a public event, like the worst possible time. Last year's boot camp, I was sick the entire camp. Oh, I forgot about that. That was rough. I had a head and chest cold. And I accidentally the third day, I took DayQuil.

unknown 26:46

Yeah.

SPEAKER_00 26:47

And later at the same day, I took Tylenol PM or something. I had them both going. And I was as balls out high.

SPEAKER_01 27:00

You're so confused.

SPEAKER_00 27:01

I was gone. I was gone and you were having to like guide me through the day, it seemed like. What are you doing? Yeah, I was a mess. That was rough. And print week, if you're having to work a booth and you are ill, I didn't realize you had that. Yeah, thank you.

SPEAKER_01 27:16

I'm a pro. I'm a pro. Thank you. I mean, I was late.

SPEAKER_00 27:19

That was not very professional, but well, I'm sure that you also learned you also learned that you need to stay in Brooklyn. I did learn that. I learned that the first year. It takes an hour and a half to get across over to Brooklyn from Manhattan. It's cool staying in Manhattan.

SPEAKER_01 27:37

It just we got lost.

SPEAKER_00 27:39

It's so fun. But we beat the subway by the end. Yeah. So it's so fun in Manhattan. I mean, it's fun in Brooklyn too, but Manhattan, we you have to really be near. That's what we learned this year. Yep. Right. Well, we learned it last year and did it that put it into play this year. Like I'm staying in Brooklyn. Jin made all those arrangements.

SPEAKER_01 28:00

I did not. Because when I looked for hotels in Brooklyn, there was like nothing showing up.

SPEAKER_00 28:05

Jen did our arrangements in November.

SPEAKER_01 28:07

I did mine like back in September. You did. That's right. But that but remember for uh it's really not that important. But basically, I will do a better job searching and not use whatever, you know, kayak or random search engine I was using.

SPEAKER_00 28:21

I know where you need to stay next year. Where I stayed, it's perfect.

SPEAKER_01 28:24

Send me a link. I can send me a link. I could walk to the venue.

SPEAKER_00 28:29

And it was hundreds cheaper than what you paid. Yeah, my bad. And it was nice. So, and I found a good bar. I found a really good bar on the way, halfway there.

SPEAKER_01 28:41

We stayed in Chinatown. This was the first time I ever stayed in Chinatown. That was awesome. Best food ever. And walking distance to Little Italy.

SPEAKER_00 28:49

I remember you told me you were standing there. I was like, what?

SPEAKER_01 28:51

What are you talking about? So mistakes were made.

SPEAKER_00 28:55

Mistakes were made. They always are in New York.

SPEAKER_01 28:57

We learned, though. We learned.

SPEAKER_00 28:58

There are lots of mistakes made in New York every year.

SPEAKER_01 29:00

As long as they don't follow you home.

SPEAKER_00 29:02

That's fine. So what else? What else do you need to know about?

SPEAKER_01 29:04

Um, I did actually want to talk about your booth really quickly because it was a very cool theme, although I do think we learned that wording might be important. So as Huck mentioned, he didn't have any like you technically didn't have any new large work. So the theme was works old and new. And so we had, which was super cool, the first edition of two weeks in August that you had gotten back from like a collector who passed away. One out of twenty. We had that entire collection boxed that we could white glove go through. You know, we had some of we had the hogscalders, older works, older works. Up until new. And then we had, you know, the like I said, the two sides of the The next trip. Previous previous diptych, now triptych. The big melt up. The Dolly Parton print. We had the Dolly Parton print and some of the ceramics. With the ceramics that are being made. Yeah, those are incredible being created through Lecoco Fine Art. Yeah. Then of course we had Monkey Mountain Chronicle, which again, I think that was really great that you had two very interactive pieces. One, we had that entire box collection that I were white cleaning. Yes. And it we had the books next to it so we could tell the stories associated with those different prints. Uh and then obviously that very interactive experience of Monkey Mountain Chronicle. But it was funny because we had decals made for the wall. Decals that, you know, Tom Hook. Old and new old and new. Or yeah, just old and new.

SPEAKER_00 30:43

And people were asking, is he dead?

SPEAKER_01 30:45

Oh my god, is he dead? Like, look at all this work he made in such a short time.

SPEAKER_00 30:51

He was born in 1999.

SPEAKER_01 30:53

He did this by the time he was 25. He he did this first series when he was three.

SPEAKER_00 30:59

People were like, and then there was one lady that was like really touched, like, had never met, didn't know I was standing right there. She was like, Oh my god, is he dead? He was so young. So yeah. So we needed to work. So that was a problem.

SPEAKER_01 31:16

Wording, we'll work on. We'll work on. But it was a very cool, I thought it was a really neat way to digest the work too. It was great. It was great to be able to talk to people and it was cool to bring those old prints out.

SPEAKER_00 31:29

As I said earlier, bed of bones. We put that up. There's it's a magic print. I don't know what it is. I sold again. Put it right up. It was framed 30 minutes in the fair. Guy came up, asked Snow. He's like, I want to buy that. That's it. And I was like, okay, man. He's like, no, I'm gonna buy that. You take my take card, I'm and it was gone. I will. We had to feel we had to fill that blank. He walked out with it. Yeah. That was great. And we we paid for the booth. Yep. Right there. 30 minutes in. But it was a great fair. They do such a great job. And any of you that love prints, not the artist formerly known as, which he's great to. You go to Minneapolis for that. If you love printmaking contemporary prints, you all should make a trip at least once to print week in New York. It's now held in April, early April every year. It's moved around a couple of times, but it used to be in October, which on Halloween weekend. It was for years, and man, Brooklyn. So we would go over to Brooklyn because there wasn't anything going on. The EAB fair, which was the satellite to the IFPDA fair for all those years. It was in Manhattan, in Chelsea, actually, to be specific, not far from the IFPDA. And we would all on Saturday night, you know, go, it's Halloween night. We go over to Brooklyn, and it's it was a fucking shit show, man. It was it was so much fun. This year, it's now moved to the spring of every year.

SPEAKER_01 33:16

So it was a nice time to be out there.

SPEAKER_00 33:18

You should go, everyone should go and try and do it at least once. Yeah, definitely worth it. You will see everything.

SPEAKER_01 33:27

It was very cool.

SPEAKER_00 33:29

Yeah, I'm glad you dug it. I did.

SPEAKER_01 33:30

I did dig it.

SPEAKER_00 33:31

Okay, what else? What else we need to talk about? Is there anything else? Was that good? Did we cover it all with print week?

SPEAKER_01 33:39

You have any other questions? You know, my only question might be like, so you mentioned maybe not for next year, but based off of this year, is there anything that you would do differently in our execution?

SPEAKER_00 33:58

No.

SPEAKER_02 33:59

Good.

SPEAKER_00 34:01

I think in our probably sixteenth year of doing fairs. I think between Jen and Deanna, who works our booth for us out there in New York every year, and you guys helping with the booth and how we have our shit together a month before we go. And everything is scripted out. I think that we've got this down for the first time. I think we know what we're doing when it comes to print fairs. Now look, Jen did fairs for Leedy, Sherry Leedy Gallery. When she started helping me, she refused, which is smart because she's like, I don't want to be work for you. We're together in a different we're in a different way. So I I pushed it with her, and that wasn't good. But over the years, once she started seeing us doing it bad, she had to step in. She's like, I have got to help with this.

SPEAKER_01 35:04

It's like keeping her up at night thinking about how poorly I'm gonna do it.

SPEAKER_00 35:07

It's driving her crazy, driving her crazy. And we would always pull it off, but at our frayed ends of sanity, okay. But Jen did fairs where they're loading in 6,000-pound chahoolis. Okay. Which she saw what we were doing. You gotta put it in a frame and it goes up on a wall on a nail. You're gonna be okay. Wow. You guys are having trouble with that. She she does that, it's a joke in a way to her, but not to us, because we don't, you know, she's done the hardest of hardcore booth installations at Sofa Chicago and Art Basel and that kind of shit, right? So with her not going this year, and her actually overdoing it because she knew she wasn't there, it was amazing.

SPEAKER_01 36:14

It was amazing.

SPEAKER_00 36:15

It was amazing.

SPEAKER_01 36:16

How it'd be fun for her to come out next year and us be prepped like that, and then she could go. She's gonna do it. We're gonna do it like this.

SPEAKER_00 36:22

She's gotta come next year. I gotta. She could enjoy it more too, then isn't she? I'm telling you what the problem is. It's the travel right now. Part of the problem, she doesn't want to fuck with airports. And I don't blame her, man. It's it wears you out because she doesn't road dog it with me. I drive the workout because I have this fear of shipping work and then showing up and something happens and you have an empty white booth.

SPEAKER_01 36:46

Yeah, fair enough. And you have a lot of work and it's framed like that's too much.

SPEAKER_00 36:51

Well, most people ship. They do. I just have a I have a phobia of not having control of the inventory.

SPEAKER_01 36:59

I've had multiple pieces that I shipped to shows that were one time it was pierced the entire box, pierced through the forklift when they were moving it onto the.

SPEAKER_00 37:08

I was like, you guys. You also have to understand, too, that our first year, our first year that we got into print week, we got into the EAB fair, the Editions and Artist Book Fair, it was a big deal. Tony Fitzpatrick was the only other independent artist that had his own booth. He was in, you know, and I got in. It was a big deal, and I was so excited. I felt like, oh my god, I finally arrived, right? I made I I made it up another step. Hurricane Sandy wiped it out on load in day. We still had to go because at a point at a certain point, Hurricane Sandy was gonna turn out to the ocean. They didn't know, and it hit on load in day, and we lost we didn't get the money back for the booth. Wow. They replaced it with a fare in January that was uh so you got a trauma attached to your and yeah, Tony didn't Tony lost all that money. I lost all that money on our fee and everything. It was awful.

SPEAKER_01 38:22

And that was IFPDA?

SPEAKER_00 38:25

No, it was EAB. Oh, EAB. The Editions and Artist Book Fair. And I I'll say this, they they never really recovered from that. They did it a couple years after that, and it was great. I thought that they were always great fairs. Always. I thought the EAB was amazing, but it's new, new era, new people, and it's with a lot of the old school EAB people still are doing this fair, and it's great.

SPEAKER_01 38:53

That's good.

SPEAKER_00 38:54

So good report.

SPEAKER_01 38:56

Good report.

SPEAKER_00 38:57

It gets five out of five stars. That's top the print week and the Brooklyn Fine Art Print Fair. Yeah. Five out of five.

SPEAKER_01 39:04

Excellent.

SPEAKER_00 39:05

All right, cool. Is that enough? Can we stop talking about this shit? Thanks. All right, bye.

SPEAKER_01 39:10

Bye.