The show meant in particular to highlight paper in all its ver- satility and expansive applications and to present the medium as an active partner in the printmaking process rather than as merely a supporting player. In this view, the relationship between paper and print, papermakers and printmakers, is revealed as a symbiotic and print, papermakers and printmakers, is revealed as a symbiotic connection, in which innovations in hand papermaking advanced the connection, in which innovations in hand papermaking advanced the field of printmaking as much as new visions in printmaking field of printmaking as much as new visions in printmaking demanded advancement and experimentation in the field of paper- demanded advancement and experimentation in the field of paper- making. This subject proved expansive. Relying on their years of making. This subject proved expansive. Relying on their years of ex-perience in the field, the two expert curators brought together ex-perience in the field, the two expert curators brought together works from over 65 artists, whose approach to printmaking range works from over 65 artists, whose approach to printmaking range from traditional techniques like etchings, silkscreens, and from traditional techniques like etchings, silkscreens, and lithographs to 3D sculptures cast from paper pulp, handmade books lithographs to 3D sculptures cast from paper pulp, handmade books made from pulped clothing—of women, of prisoners—watermarks, pulp made from pulped clothing—of women, of prisoners—watermarks, pulp paint-ings, and hybrid formats. Taken in sum, the chosen works paint-ings, and hybrid formats. Taken in sum, the chosen works reveal the vast potential of paper as a medium. Remarkably, reveal the vast potential of paper as a medium. Remarkably, despite the vol-ume of work created in this niche, this was the despite the vol-ume of work created in this niche, this was the first exhibition to ex-amine the relationship between paper- and first exhibition to ex-amine the relationship between paper- and printmaking in this way. printmaking in this way. The mediums themselves however, were only one topic on view in The mediums themselves however, were only one topic on view in this exhibition. The impossibility of fitting an entire survey of this exhibition. The impossibility of fitting an entire survey of nearly 50 years of vibrant, if very specific, activity into one nearly 50 years of vibrant, if very specific, activity into one exhibi-tion inadvertently raised questions of inclusion, equity, exhibi-tion inadvertently raised questions of inclusion, equity, and equality in the art world. Even as, outside the gallery, our and equality in the art world. Even as, outside the gallery, our news feeds be-gan to fill with public accusation after public news feeds be-gan to fill with public accusation after public accusation of harass-ment, assault, and the negligent, ignorant, accusation of harass-ment, assault, and the negligent, ignorant, or even willful erasure of women and marginalized groups by the or even willful erasure of women and marginalized groups by the men who ruled the city's art spaces and organizations, IPCNY men who ruled the city's art spaces and organizations, IPCNY provided a stage for a differ-ent approach to inclusion and provided a stage for a differ-ent approach to inclusion and exclusion. It started with an urgent question: Chuck Close, whose exclusion. It started with an urgent question: Chuck Close, whose landmark stenciled, pigmented, pa-per-pulp portrait (Janet/Pulp, landmark stenciled, pigmented, pa-per-pulp portrait (Janet/Pulp, 2007) was chosen to fill half a wall of the gallery, had just been 2007) was chosen to fill half a wall of the gallery, had just been accused of sexual harassment. As a result, some of the decision- accused of sexual harassment. As a result, some of the decision- makers in this exhibition asked hard questions about whether makers in this exhibition asked hard questions about whether including him would constitute tacit support for his bad behavior. including him would constitute tacit support for his bad behavior. Socially minded curators hold themselves accountable for the Socially minded curators hold themselves accountable for the politics of their selections—the biases that influence them and politics of their selections—the biases that influence them and the impact that certain choices have on the continuing discourse— the impact that certain choices have on the continuing discourse— and the moment seemed to demand a stance. Would including Close and the moment seemed to demand a stance. Would including Close endorse the centuries-old belief that a man's artistry is endorse the centuries-old belief that a man's artistry is sacrosanct, and its value can never be diminished by any damage he sacrosanct, and its value can never be diminished by any damage he might wreak on his path to "genius"? Excluding an indisputably might wreak on his path to "genius"? Excluding an indisputably major work on this basis, however, would likely undermine the major work on this basis, however, would likely undermine the exhibition's goal of providing a truly comprehensive overview of exhibition's goal of providing a truly comprehensive overview of its subject matter within the al-lotted space, and there was its subject matter within the al-lotted space, and there was another consideration: Chuck Close did not create these works another consideration: Chuck Close did not create these works alone. Collaboration was the very premise of the exhibition, and alone. Collaboration was the very premise of the exhibition, and the papermakers and master printers involved in each project were the papermakers and master printers involved in each project were credited along with the artist. To remove the work based on the credited along with the artist. To remove the work based on the behavior of the man with the biggest name, in this light, would behavior of the man with the biggest name, in this light, would allow his stature to erase the contributions of these lesser- allow his stature to erase the contributions of these lesser- known, but equally valuable collaborators. In the end, the pulp known, but equally valuable collaborators. In the end, the pulp portrait was included, providing a key, contemporary example of portrait was included, providing a key, contemporary example of art-ists' continued fascination with paper pulp. art-ists' continued fascination with paper pulp. As with the curators' choice to exhibit the work by the As with the curators' choice to exhibit the work by the controversial Close, community-mindedness prevailed throughout the controversial Close, community-mindedness prevailed throughout the entire exhibition, with several wall labels crediting four to five entire exhibition, with several wall labels crediting four to five individuals, and certain names re-sur-facing in different roles individuals, and certain names re-sur-facing in different roles across different works. Master print-er and publisher Kenneth across different works. Master print-er and publisher Kenneth Tyler, for example, was credited in several works in the Tyler, for example, was credited in several works in the exhibition—in a variety of formats from lithography and woodcuts exhibition—in a variety of formats from lithography and woodcuts on handmade paper to painting directly with wet, colored paper on handmade paper to painting directly with wet, colored paper pulp. During the run of the exhibition, he returned to IPCNY and pulp. During the run of the exhibition, he returned to IPCNY and gave a lecture warmly recounting his collaborations with David gave a lecture warmly recounting his collaborations with David Hockney, Frank Stella, Helen Frankenthaler, and many others that Hockney, Frank Stella, Helen Frankenthaler, and many others that empha-sized the convivial, spontaneous moments in which trust and empha-sized the convivial, spontaneous moments in which trust and willingness to experiment together resulted in beautiful, willingness to experiment together resulted in beautiful, boundary-pushing works. Other supporting materials also showed the boundary-pushing works. Other supporting materials also showed the joy and excitement of such collaborations. For instance, a joy and excitement of such collaborations. For instance, a timeline on the gallery's external wall included snapshots of timeline on the gallery's external wall included snapshots of groups working together at the Women's Stu-dio Workshop, at groups working together at the Women's Stu-dio Workshop, at Universal Limited Art Editions, at Pace Pa-per, and at Dieu Donné. Universal Limited Art Editions, at Pace Pa-per, and at Dieu Donné. In the sphere of paper-print collaborations, inclusivity is a In the sphere of paper-print collaborations, inclusivity is a norm, as could be felt in the curators' reluctance to ex-clude norm, as could be felt in the curators' reluctance to ex-clude anyone from the story. The resulting exhibition was not just a anyone from the story. The resulting exhibition was not just a showcase of the works themselves, but a snapshot of a mutually showcase of the works themselves, but a snapshot of a mutually supportive culture that has sustained an unin-terrupted buzz of supportive culture that has sustained an unin-terrupted buzz of activity over half a century. In this corner of art making, the activity over half a century. In this corner of art making, the artist is only one player in an ensemble, whose vision provides a artist is only one player in an ensemble, whose vision provides a playground for many other makers to investigate their mediums and playground for many other makers to investigate their mediums and exert their creativity. As the narrative of the lone genius exert their creativity. As the narrative of the lone genius crumbles around us, this exhibi-tion is a welcome glimpse of an crumbles around us, this exhibi-tion is a welcome glimpse of an alternative model of artistry. alternative model of artistry.