The International Fine Prints & Drawings Association (IFPDA) has announced the lineup for its 2027 edition, revealing a significant expansion that reflects a broader transformation within the global art ecosystem. With 76 exhibitors slated to participate—a more than 20 percent increase from its 2024 iteration—the fair is positioning itself not merely as a specialized boutique event, but as a central pillar of the international art calendar.
The 2027 fair, scheduled to run from April 8 to 11, marks a pivotal moment for the medium. Once relegated to the periphery of "major" art collecting, works on paper—ranging from historic etchings to contemporary editions and unique drawings—are experiencing a surge in institutional and commercial prestige. This year’s expansion is punctuated by the arrival of blue-chip heavyweights and a definitive institutional pivot that bridges the gap between traditional printmaking and the broader world of contemporary fine art.
Main Facts: A Robust Expansion and New Market Players
The growth of the IFPDA 2027 fair is most visible in its roster. Of the 76 exhibitors, 14 are new to the fair or the association, representing a infusion of fresh energy and high-level market influence. Among the most notable additions are global powerhouses White Cube and Gladstone, alongside esteemed galleries such as Sikkema Jenkins & Co., Nancy Hoffman Gallery, and Jill Newhouse Gallery.
The composition of the fair itself has evolved. While the IFPDA was founded on the bedrock of printmaking, drawings now account for approximately one-quarter of the fair’s offerings. At least 19 exhibitors have committed to showing drawings as a primary or significant component of their presentations. This diversification is not incidental; it is the result of a deliberate strategic shift to encompass the full spectrum of works on paper.
The demand for space at the 2027 edition was unprecedented. According to the association, every available booth at the historic Park Avenue Armory was booked almost immediately after applications were distributed to IFPDA’s 150 members in May. This "sold-out" status stands in stark contrast to the fair’s position just a few years ago, when the organization was actively seeking to fill its floor plan.
Chronology: From Niche Association to Market Leader
To understand the significance of the 2027 fair, one must look at the trajectory of the IFPDA over the last four decades.
- 1987–1990: The Foundation. The IFPDA was established in 1987 as a non-profit organization dedicated to the scholarship and market for fine prints. In 1990, the association established its bylaws, which remained largely unchanged for over thirty years, focusing strictly on the "multiple"—the print.
- The Javits Era (2019–2023): For five years, the fair was held at the Javits Center. While the venue offered scale, many felt the fair lost the intimate, prestigious atmosphere associated with its long-time home at the Armory. During this period, prints were often still viewed by the broader market as an "entry-level" asset class.
- 2024: The Homecoming. The fair returned to the Park Avenue Armory in 2024. Jenny Gibbs, IFPDA’s Executive Director, noted that at the time of the return, the association still had booths to fill. However, the move back to the Armory acted as a catalyst for renewed interest from major contemporary galleries.
- 2026: The Name Change. In a historic move, the association updated its bylaws and officially changed its name to the International Fine Prints & Drawings Association. The 2026 fair was the first to carry this title, signaling a formal embrace of unique works on paper (drawings) alongside editions.
- 2027: The Full Realization. The upcoming April fair represents the full realization of this expansion, with the highest exhibitor count in recent history and a waitlist of galleries eager to join.
Supporting Data: Diversified Presentations and Artist Rosters
The 2027 exhibitor list suggests a curated blend of historical rigor and contemporary relevance. The inclusion of drawings has allowed galleries to present a more holistic view of an artist’s practice.
Jill Newhouse Gallery, a new member, is set to devote its entire booth to drawings. Their presentation will span centuries, featuring masters such as Eugène Delacroix alongside modern icons like Henri Matisse. This underscores the fair’s commitment to connoisseurship and the historical lineage of the medium.
Gladstone Gallery will leverage the fair’s expanded mandate to showcase a mix of drawings and editions. Their roster includes some of the most influential names in 20th and 21st-century art, including Robert Rauschenberg, Pope.L, Joan Jonas, Elizabeth Murray, and Matthew Barney. By presenting these artists in the context of a "works on paper" fair, Gladstone highlights the essential role that prints and drawings play in the conceptual development of major contemporary oeuvres.
Sikkema Jenkins & Co. will make its IFPDA debut with a solo presentation of editions by Louis Fratino, a rising star known for his intimate, queer-themed figurative works. This will be complemented by works on paper from Kara Walker, Wardell Milan, and Yashua Klos, demonstrating the medium’s power to address complex social and political narratives.
White Cube, another first-time participant, brings an international flair with a selection featuring Christine Ay Tjoe, Danh Vo, Etel Adnan, and Beatriz Milhazes. The presence of these artists—who command high prices for paintings and sculptures—at a print and drawing fair illustrates the increasing market parity between different media.
Official Responses: A "Dramatic" Shift in Attitude
Jenny Gibbs, Executive Director of the IFPDA, has been vocal about the changing perception of works on paper. In an interview with ARTnews, she described the evolution as nothing short of a "dramatic" attitude shift.
"Ten years ago, prints were mostly considered as the entry point you graduated out of—a side hustle for galleries and a footnote in museum collections," Gibbs stated. "That’s completely flipped."
Gibbs attributes this change to the realization by major galleries that works on paper are "worth the real estate." She pointed to the fact that nearly every major global gallery—including Hauser & Wirth, David Zwirner, White Cube, and Gladstone—now maintains a robust editions program. This is not just a commercial strategy; it is an acknowledgment of the artistic validity of the medium.
The shift is also being mirrored in institutional programming. This October, the association’s annual "Print Month" will be rebranded as "Prints & Drawings Month." A highlight of the programming is "Drawn Together: Collections in Conversation" on October 19, a panel featuring curators from the Los Angeles County Museum of Art (LACMA), the Princeton University Art Museum, and the Chazen Museum of Art. These institutions have recently renovated or rehung their collections, and a primary focus of their new layouts is the integration of prints and drawings into general galleries.
"When the Met hangs a Rembrandt etching in their European paintings galleries, they’re teaching a new audience that works on paper belong in the same conversation," Gibbs said. "What we’re seeing is a structural change."
Implications: The Democratization and Integration of the Market
The growth of the IFPDA 2027 fair has several long-term implications for the art market:
- Integration Over Isolation: For decades, prints and drawings were sold in separate departments at auction houses and tucked away in "study rooms" at museums. The 2027 fair proves that the market now demands integration. Collectors are no longer looking for "a print"; they are looking for "a Rauschenberg," regardless of whether it is a unique painting or a high-quality lithograph.
- Market Stability: Works on paper often provide a more stable entry point for new collectors and a more resilient secondary market during economic fluctuations. The surge in demand for IFPDA booths suggests that galleries are leaning into this stability.
- Educational Shift: By rebranding "Print Month" to include drawings, the IFPDA is leading an educational charge. This helps collectors understand the technical nuances of printmaking while appreciating the spontaneity of drawing, effectively elevating the "works on paper" category as a whole.
- The "Armory Effect": The fair’s success at the Park Avenue Armory reinforces the importance of venue and context. The historic, prestigious setting helps bridge the gap between the "commercial" aspect of a fair and the "academic" nature of the works being shown.
As the IFPDA prepares for its 2027 edition, it is clear that the fair is no longer a niche gathering for specialists. It has become a vital barometer for a market that increasingly values the intimacy, technical mastery, and intellectual depth found in works on paper.
Full Exhibitor List for IFPDA 2027:
- Anderson Ranch Editions
- Burnet Editions
- Carolina Nitsch
- Center Street Studio
- Childs Gallery
- Cristea Roberts Gallery
- Crown Point Press
- David Tunick, Inc.
- David Zwirner
- Dolan/Maxwell
- Durham Press
- F.L. Braswell Fine Art
- Flatbed Press
- Flying Horse Editions
- Galerie Knust Kunz
- Galerie Lelong
- Galerie Martinez D.
- Galerie Maximillian
- Galerie Myrtis
- gallery neptune & brown
- Gemini G.E.L. at Joni Moisant Weyl
- Georgina Kelman :: Works on Paper
- Gilden’s Art Gallery
- Gladstone
- Goya Contemporary Gallery / Goya-Girl Press
- Graphicstudio
- Hauser & Wirth
- Heather Gaudio Fine Art
- Highpoint Editions
- Hill-Stone
- Isselbacher Gallery & Timothy Baum
- Jacobson Graphics
- Jill Newhouse Gallery
- John Szoke Gallery
- Jörg Maass Kunsthandel
- Josh Pazda Hiram Butler
- Jungle Press Editions
- Kim Schmidt Fine Art
- Krakow Witkin Gallery
- LeRoy Neiman Center for Print Studies
- Leslie Feely
- Leslie Sacks Gallery
- Long-Sharp Gallery
- Lower East Side Printshop
- Manifold Editions
- Manneken Press
- Mixografia
- Nancy Hoffman Gallery
- Pace Prints
- Paragon
- Paramour Fine Arts
- Paulson Fontaine Press
- Planthouse
- PS Marlowe
- Scholten Japanese Art
- Shore Publishing
- Sigrid Freundorfer Fine Art
- Sikkema Jenkins & Co.
- Stoney Road Press
- STPI
- Tamarind Institute
- Tandem Press
- The Drawing Center (Invitational)
- The Old Print Shop, Inc.
- The Paris Review
- The Tolman Collection
- Two Palms
- Universal Limited Art Editions (ULAE)
- White Cube
- Wildwood Press
- William P. Carl Fine Prints
- William Shearburn Gallery
- Wingate Studio
- Worthington Gallery
- Zucker Art Books
