Richard Serra began making prints in 1972. Since then, his continued investigations into printmaking have produced an innovative body of work that is as large as it is varied. While Serra's prints explore the perceptual possibilities suggested by his sculptural work, they are not merely illustrative, but rather autonomous works of art that constantly push the medium to its limits. Conveying a sense of weight, instability, and potential motion, Serra's graphic works possess a physical presence that provokes reactions similar to those experienced in the presence of his sculptures. Rounding out the publication's visuals, two essayists explore the many ramifications of presence in Serra's work.