By MARTHA SCHWENDENER @ New York Times
Printmaking has suffered a crisis in recent years, with art schools closing their printmaking departments and giving the space and resources to digital equipment and instruction. In this country fine-art printmaking has always occupied a hazy zone, somewhere between painting and drawing and photography. The European model — with artists like Dürer and Goya producing woodcuts, etchings or aquatints that rivaled or outstripped their best paintings, and apprenticeships developing new printmakers — has never been successfully duplicated in the United States.
"Two Maps II" (1966), by Jasper Johns.