Anish Kapoor: Dissolving Margins, from the Collections of Jordan D. Schnitzer and His Family Foundation, presents a bold and expansive exhibition exploring nearly four decades of Kapoor’s printmaking practice. Born in 1954 in Mumbai, India, Kapoor moved to London in the early 1970s to study art where he continues to live and work, while also maintaining a studio in Venice, Italy. One of the most influential contemporary artists working today, Kapoor is renowned for works on an architectural scale such as Cloud Gate (2004) in Chicago’s Millennium Park and Ark Nova (2013), the world’s first inflatable concert hall in Japan. His works both engage public space and envelop the viewer in an interiority. 

In parallel with his sculptural projects, Kapoor has maintained a career-long commitment to printmaking, which began in the 1970s and continues to this day. While Kapoor’s prints have been featured in group exhibitions, this project marks the artist’s first retrospective survey dedicated to this collaborative and often technical practice. Like his beguiling experiments with form in all media and material, Kapoor’s graphic oeuvre similarly evokes a sense of awe as we contemplate the hallucinatory qualities of heavily pigmented prints that appear to breathe, expand, and dissolve before our eyes. Elsewhere, especially in his earlier works, Kapoor explores organic and biological forms alongside an overarching metaphysical concern with expressions of origin, presence, and absence.

Anish Kapoor: Dissolving Margins presents a rare opportunity to consider an immense catalogue of the artist’s printmaking—over 150 unique impressions spanning from his earliest experiments to his most recent work. Often produced in series, these prints reflect Kapoor’s commitment to a process of iteration and variation, a method central to his artistic practice. “I’m interested not in declaration,” he has said, “but in the exploration of the possibilities of meaning.” Collaboratively realized, these extraordinary works on paper offer a compelling and underexamined perspective on Kapoor’s lifelong engagement with the acts of seeing and perceiving.