These lithographs evidence a very unique approach to the medium of printmaking. The imagery has resulted from William C. Maxwell’s preoccupation with process as motif, wherein the medium is pushed beyond normal boundaries in order to achieve a visual statement that unifies the method with the resultant image. These prints represent a very close study of the developing stone lithograph and the use of a chemical method of transposing the positive and negative areas of space. This development is extended to the drawn Mylar that transfers the image to light sensitive plates. This serves to reveal a luminosity of color and perception of space and depth not normally associated with lithographic prints. Printed on Arches Cover White mould made paper, they incorporate seven to eight colors in ‘rainbow’ application of very transparent inks that produce complicated visual unification of the ‘romantic’ painterly concerns with the ‘conceptual’ use of the grid format. Maxwell had his first New York show in Soho in 1972 and has since exhibited extensively in the United States, Canada and Europe. His most recent show at the Elizabeth Weiner Gallery in New York was very favourably reviewed in Arts magazine. His recent book, Printmaking: A Beginning Handbook clearly establishes his significance as an emerging talent and his importance as a printmaker.