This essay explores Sol LeWitt's printmaking from the 1970s and the 1990s, specifically a lithograph, a silkscreen, and several etchings that employ a medium-specific strategy of rotating the print matrix to produce single images or series. Interpreted in light of the artist's 1979 venture into film and dance (in collaboration with Lucinda Childs and Philip Glass), these prints reveal a system of choreographed moves (quarter turns, half turns, a reversal) that must be mentally and perceptually deciphered and thus re-created by viewers. Set in motion, LeWitt's lines and brushstrokes interact in unpredictable and chaotic ways, yet an organizing structure emerges.

This essay explores several fifteenth-century woodcuts of the Christ Child in relation to the so-called Proleptic Passion, the theme of the Child of Sorrows, and the subtle ways in which the images collapse time.

Like many of his contemporaries, N.C. Wyeth executed commissions for popular print illustrations of historical Native life. This essay closely examines Wyeth’s work for Fenimore Cooper’s novel, The Last of the Mohicans, done in 1919. By putting Wyeth’s original paintings in dialogue with both their future print processes and collections of Native material culture, this essay considers how print media played a role in authenticating a generalized Native culture for American audiences, far removed from the material and social realities of Native communities.