Leonardo Drew at Pace Prints

Key Takeaways

• Fifth solo show with Pace Prints, 15-year partnership.
• New paper-pulp works blend printmaking and sculpture.
• Hand‑made urethane molds enable layered, architectonic compositions.
• Vibrant monoprints contrast stark, monochrome assemblages.
• Exhibition expands paper's role in contemporary installation.

Summary

Leonardo Drew presents his fifth solo exhibition at Pace Prints in New York, running March 19‑April 25, 2026. The show highlights new hand‑made paper‑pulp editions, monoprints, and large wall‑relief assemblages developed through a 15‑year collaboration with Pace Paper. Using custom urethane molds, Drew layers pigmented pulp to create dense, sculptural compositions that blur the line between printmaking and installation. The works feature bold color contrasts and stark monochrome pieces, underscoring paper’s structural potential.

Pulse Analysis

Leonardo Drew’s partnership with Pace Prints marks a pivotal moment in contemporary art, where the boundaries between printmaking, sculpture, and installation are increasingly porous. Over a 15‑year collaboration, Drew has refined a process that begins with hand‑crafted urethane molds, each lined with pigmented paper pulp. This labor‑intensive technique yields dense, layered surfaces that retain the tactile immediacy of sculpture while preserving the reproducibility of print, positioning paper as a medium capable of both mass production and singular, monumental presence.

The technical rigor behind Drew’s new works challenges long‑standing hierarchies within the art market that often privilege traditional materials such as bronze or canvas. By casting paper‑pulp into wall‑mounted reliefs, he transforms a historically delicate substrate into a forceful, architectural element. The resulting pieces—ranging from vibrant, multicolored monoprints to stark, monochrome assemblages—engage viewers with a visual tension that mirrors current global uncertainties, reinforcing the artist’s reputation for embedding social commentary within abstract forms.

For collectors and institutions, the exhibition signals a lucrative convergence of innovation and market demand. Pace Prints, situated in New York’s vibrant gallery district, leverages this show to reinforce its role as a catalyst for material experimentation. As museums and private buyers seek works that combine aesthetic depth with technical novelty, Drew’s paper‑pulp sculptures offer a compelling investment, expanding the commercial viability of print‑based art in a landscape increasingly attentive to sustainability and interdisciplinary practice.