Preeminent sculptor Richard Serra is renowned for monumental site-specific artworks that alter viewers’ perceptions of space and proportion. He bends, curves, and stacks giant sheets of metal, then invites viewers to navigate the space around and within them. In addition to these feats of engineering, Serra has also created fierce black-and-white abstract drawings with oil stick on paper. Over the course of his career, the artist’s sculptures have been installed in public spaces around the world—his Tilted Arc (1981) famously bisected New York’s Federal Plaza for nearly a decade—and he’s enjoyed solo exhibitions at such institutions as the Museum of Modern Art, the Stedelijk Museum, and the Museo Reina Sofía. Beginning in December 1993, Serra began utilizing an etching technique that printmakers traditionally consider a mistake: corroding the copper plate’s wax “ground” with lengthy acid baths in ferric chloride that dissolved, or “bit,” through the exposed metal. Over the subsequent decades, Serra continued to etch deeper than he had before, silk-screening silhouette forms before running paint sticks along the surface to create oil markings. Despite exclusively working with black throughout his printmaking career—by melting oil sticks with crystallized silica rock—Serra achieved ever-complex lithic textures.