Pace Prints is pleased to announce an exhibition of new cast handmade paper-pulp works by Leonardo Drew. The exhibition will be on view from March 19 – April 25, 2026, at 536 West 22nd Street, with an opening reception on Thursday, March 19 from 6-8pm. The exhibition marks Drew’s fifth solo exhibition at Pace Prints.
Continuing Leonardo Drew’s 15-year collaboration with the Pace Paper studio in Gowanus, Brooklyn, this exhibition presents new editions and monoprints, alongside several unique assemblages that the artist refers to as “tattered quilts.” As Drew describes it, “There’s all this new layering that’s happened. The fact that we’ve accumulated all of these molds, we’re [now] able to tie them together.”
These assemblages expand the possibilities of Drew’s papermaking beyond the confines of the hand-made urethane forms he has built to cast his monoprints and editions since 2012. Using a familiar process, these templates are lined with pigmented paper pulp, which is left to dry and removed. These cast paper fragments are then cut, torn, and configured into new compositions. The resulting large-scale wall reliefs call to mind the artist’s monumental sculptural installations, with works like 122P and 123P typifying this explosive new potential as they spread across entire gallery walls—unfurling through space.
Drew’s art forgoes what he deems the “prettified” surface and seeks to reflect on and find beauty in works that he has ironically declared “monstrosities.” Always holding a mirror to the present, the artist’s work can often be inseparable from comparison to the most recent human atrocity or natural catastrophe making headlines around the world. Yet, the ambiguity of his titling and far-reaching sources of inspiration allow for interpretations that welcome individual experience and echo across the entirety of history.
Across his paper-pulp works, Drew’s experimentations with color have become a central motif. Throughout this exhibition, Drew’s palette oscillates between vibrant hues and stark black or white. Monoprints like 97P and 96P utilize charged yellows, reds, pinks, blues, and greens, while intimately scaled editions like 107P and 119P offer striking use of bright pinks and oranges. Meanwhile, assemblages like 124P and 100P are entirely devoid of color, highlighting their undulating and jagged forms in moments of pure contrast.
This exhibition marks a new apex for Drew’s rigorous and innovative approach to the processes of papermaking, pioneering new techniques and constantly pushing the boundaries of what paperpulp is capable of.
Please contact us at info@paceprints.com to inquire or request any additional information.