Shepard Fairey Releases in 2001: A Master Index Yearbook

Scope and reading method

This yearbook examines the 16 Shepard Fairey releases recorded in Gauntlet Gallery’s master index for 2001. It is a research-led annual analysis, not a catalogue raisonné, authentication opinion, appraisal, or forecast. The index records a title, year, edition designation, stated edition size, medium, publisher, and—where available—cleaned public-sale observations. Those fields make it possible to read a release year as a body of work rather than as a collection of disconnected marketplace listings.

The records for 2001 span 16 Screen Print. The publishers recorded in the index are Obey Giant (16). The index currently associates 64 cleaned public-sale observations with this year’s entries; 14 of the 16 releases have at least one qualifying recorded observation. The unweighted median of the entry-level reported medians is $652.00. This statistic is descriptive only. It does not adjust for differing sale dates, condition, framing, provenance, venue, or the fact that some works have substantially more observations than others.

The central discipline of this report is to separate three things that are often blurred together: the edition-level record, the specific physical object, and the market evidence. The edition-level record identifies what the master index says was released. The specific object is what a collector can actually inspect—its paper or substrate, signature, numbering, condition, margins, documentation, and history. Market evidence is a partial set of past transactions, useful for comparison but never a substitute for the object record. Keeping these layers distinct is especially important in Fairey’s practice, where a familiar image can appear across multiple formats, releases, collaborations, or later circulation contexts.

The year in context

Fairey’s practice has long treated the poster as both public signal and private object. The visual vocabulary is recognizable: compressed color, pattern, portraiture, typography, ornamental motifs, and the borrowed authority of propaganda graphics. Yet the index makes clear that each release year is more than a string of branded images. The balance among screenprints, letterpress works, giclée editions, collaborations, music-related subjects, and overtly political titles changes the way a year reads. A collector should therefore begin with the release roster, not simply with the most visible title or highest observed result.

The 2001 index is best read as a working map. It identifies where evidence is dense, where it is thin, and where the object-level questions remain unresolved. A high count of public observations does not automatically mean a work is superior; it means there is more recorded transaction evidence to examine. A zero count does not prove scarcity, value, or absence of demand; it means the current dataset does not contain a qualifying record under this methodology. That restraint is a feature rather than a limitation. It keeps market language from becoming stronger than the data can support.

How to use this annual analysis

Each release dossier below starts from the master-index fields and then outlines the questions that matter when a physical example appears. The sections do not claim visual details that are not present in the index. Instead, they explain how title, medium, edition size, publisher, and the state of the comp record should guide a collector’s next research step. This is the right level of certainty for a data-led index: precise about what the record states, candid about what it does not establish.

For an offered work, save the original listing, request full front and reverse images, inspect signature and edition areas where applicable, and retain any certificate, invoice, or seller correspondence. Ask about condition in specific terms: corners, handling creases, surface rub, tape residue, light exposure, mat burn, water marks, and prior mounting. If framed, ask about glazing and mounting method. These questions are not merely defensive. They make it possible to understand the work as an object, not just as a title attached to a price.

OG Lamp Base

The master index records OG Lamp Base as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that OG Lamp Base forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 200 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.

The master index contains 1 cleaned public-sale observations for this entry. Its reported median is $1,727.74, with an observed low-to-high range of $1,727.74 to $1,727.74. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of OG Lamp Base, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, OG Lamp Base is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Zapatista

The master index records Zapatista as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Zapatista forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 5 cleaned public-sale observations for this entry. Its reported median is $699.00, with an observed low-to-high range of $284.00 to $8,400.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Zapatista, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Zapatista is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Ripped Poster

The master index records Ripped Poster as a 2001 release: First Edition, stated edition size 100, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Ripped Poster forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 100 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.

The master index contains 4 cleaned public-sale observations for this entry. Its reported median is $174.50, with an observed low-to-high range of $125.00 to $600.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Ripped Poster, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Ripped Poster is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Nixon Poster

The master index records Nixon Poster as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Nixon Poster forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 4 cleaned public-sale observations for this entry. Its reported median is $605.00, with an observed low-to-high range of $313.00 to $835.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Nixon Poster, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Nixon Poster is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Propaganda Industries

The master index records Propaganda Industries as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Propaganda Industries forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 1 cleaned public-sale observations for this entry. Its reported median is $500.00, with an observed low-to-high range of $500.00 to $500.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Propaganda Industries, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Propaganda Industries is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Visual Pollution Smoke Stacks

The master index records Visual Pollution Smoke Stacks as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Visual Pollution Smoke Stacks forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 8 cleaned public-sale observations for this entry. Its reported median is $1,175.00, with an observed low-to-high range of $500.00 to $2,500.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Visual Pollution Smoke Stacks, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Visual Pollution Smoke Stacks is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Chinese Building

The master index records Chinese Building as a 2001 release: First Edition, stated edition size 300, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Chinese Building forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 300 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.

The master index contains 4 cleaned public-sale observations for this entry. Its reported median is $574.00, with an observed low-to-high range of $415.00 to $648.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Chinese Building, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Chinese Building is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Mao Banner

The master index records Mao Banner as a 2001 release: First Edition, stated edition size 20, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Mao Banner forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

Screenprint collectors should assess ink surface, paper character, margins, and handling carefully. The stated edition size of 20 is a supply descriptor, not a ranking system. It can help frame comparisons, but it does not determine desirability, condition, or eventual resale outcomes. A collector comparing examples should ask whether the works are genuinely the same edition, whether the notation is complete, whether any Artist’s Proof or variant language is involved, and whether the listing photographs support the claims being made. A smaller number is not a substitute for a clear object record.

The master index currently contains no cleaned public-sale observation for this entry under the reporting rules used here. This is a data gap, not a conclusion about scarcity, value, or demand. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Mao Banner, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Mao Banner is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Wreath

The master index records Wreath as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Wreath forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 4 cleaned public-sale observations for this entry. Its reported median is $725.00, with an observed low-to-high range of $449.99 to $1,250.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Wreath, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Wreath is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Obey Destroyers

The master index records Obey Destroyers as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Obey Destroyers forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 1 cleaned public-sale observations for this entry. Its reported median is $2,796.00, with an observed low-to-high range of $2,796.00 to $2,796.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Obey Destroyers, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Obey Destroyers is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Obey Pole

The master index records Obey Pole as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Obey Pole forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 2 cleaned public-sale observations for this entry. Its reported median is $309.38, with an observed low-to-high range of $119.99 to $498.76. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Obey Pole, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Obey Pole is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Cash For Chaos

The master index records Cash For Chaos as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Cash For Chaos forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 8 cleaned public-sale observations for this entry. Its reported median is $450.56, with an observed low-to-high range of $224.99 to $810.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Cash For Chaos, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Cash For Chaos is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Visual Pollution Gas Mask

The master index records Visual Pollution Gas Mask as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Visual Pollution Gas Mask forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 6 cleaned public-sale observations for this entry. Its reported median is $562.50, with an observed low-to-high range of $500.00 to $750.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Visual Pollution Gas Mask, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Visual Pollution Gas Mask is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Playboy Poster

The master index records Playboy Poster as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Playboy Poster forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 1 cleaned public-sale observations for this entry. Its reported median is $1,000.00, with an observed low-to-high range of $1,000.00 to $1,000.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Playboy Poster, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Playboy Poster is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Big Brother 2

The master index records Big Brother 2 as a 2001 release: First Edition, stated edition size 200, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Big Brother 2 forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

The master index contains 15 cleaned public-sale observations for this entry. Its reported median is $800.00, with an observed low-to-high range of $148.50 to $3,000.00. These figures should be read as a set of past observations, not a valuation. The range may incorporate object-level differences, different sale dates, weak or strong documentation, framing, venue, and catalogue accuracy. Where the count is modest, each sale carries more weight and deserves closer scrutiny. Where the count is larger, it improves the available reference set but still does not remove the need to compare like with like. Asking prices are not included in the logic of this paragraph; completed transactions and listing claims are different kinds of evidence.

For an individual example of Big Brother 2, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Big Brother 2 is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Metropolis

The master index records Metropolis as a 2001 release: First Edition, stated edition size 100, medium Screen Print, published by Obey Giant. This combination of fields establishes the entry’s edition-level identity. It does not establish the condition, completeness, or authenticity of any individual example offered for sale. The first task for a collector is to make sure that a listing’s title, medium, edition language, and publisher information genuinely correspond to this indexed record rather than merely resembling it.

The title itself belongs to the wider field of Fairey’s public-facing image practice, where language, symbolism, portraiture, and graphic design can function simultaneously. The master index is deliberately cautious here: it records the work name but does not attempt to turn an index title into a complete visual description. That restraint matters. A collector should consult high-quality images and primary release information before making a thematic interpretation. What can be said from the record is that Metropolis forms part of the 2001 release roster, and its medium and publisher place it within the production ecology tracked for that year.

For an individual example of Metropolis, build a small research file before committing. Save the listing text, request full front and reverse photographs, inspect the signature and edition area if present, and document the corners and any condition issues. Retain invoices, certificates, and seller messages together. If framed, ask whether the work is floated, hinged, or mounted; ask about glazing, visible margins, and whether the frame is part of the purchase. This object file is a practical form of provenance. It does not manufacture certainty, but it preserves the evidence a collector actually has.

Within the 2001 yearbook, Metropolis is useful as a reminder that a release roster is not a shopping list. The index helps define the field of comparison, while the collector’s work is to decide which image, process, condition state, and documentation standard genuinely fit a collection. The strongest acquisition logic combines visual conviction with clear records and a realistic view of total cost, including shipping, framing, conservation, and the possibility of holding the work for a long time.

Release-roster comparison appendix

OG Lamp Base: index comparison note

The 2001 record lists OG Lamp Base as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 1 cleaned public-sale observation for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Zapatista: index comparison note

The 2001 record lists Zapatista as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 5 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Ripped Poster: index comparison note

The 2001 record lists Ripped Poster as First Edition in an edition of 100, with Screen Print credited to Obey Giant. The index currently carries 4 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Nixon Poster: index comparison note

The 2001 record lists Nixon Poster as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 4 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Propaganda Industries: index comparison note

The 2001 record lists Propaganda Industries as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 1 cleaned public-sale observation for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Visual Pollution Smoke Stacks: index comparison note

The 2001 record lists Visual Pollution Smoke Stacks as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 8 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Chinese Building: index comparison note

The 2001 record lists Chinese Building as First Edition in an edition of 300, with Screen Print credited to Obey Giant. The index currently carries 4 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Mao Banner: index comparison note

The 2001 record lists Mao Banner as First Edition in an edition of 20, with Screen Print credited to Obey Giant. The index currently carries 0 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Wreath: index comparison note

The 2001 record lists Wreath as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 4 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Obey Destroyers: index comparison note

The 2001 record lists Obey Destroyers as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 1 cleaned public-sale observation for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Obey Pole: index comparison note

The 2001 record lists Obey Pole as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 2 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Cash For Chaos: index comparison note

The 2001 record lists Cash For Chaos as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 8 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Visual Pollution Gas Mask: index comparison note

The 2001 record lists Visual Pollution Gas Mask as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 6 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Playboy Poster: index comparison note

The 2001 record lists Playboy Poster as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 1 cleaned public-sale observation for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Big Brother 2: index comparison note

The 2001 record lists Big Brother 2 as First Edition in an edition of 200, with Screen Print credited to Obey Giant. The index currently carries 15 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.

Metropolis: index comparison note

The 2001 record lists Metropolis as First Edition in an edition of 100, with Screen Print credited to Obey Giant. The index currently carries 0 cleaned public-sale observations for this entry. Use that figure to decide how much comparison work is possible, not to bypass it. Compare only examples that match the edition-level record, then document the offered object’s condition, signature or notation where applicable, dimensions, and supporting paperwork. This same discipline makes the annual roster more useful than an undifferentiated list of titles.## Research appendix: making a durable annual record

The 2001 roster should be treated as an invitation to compare records, not as a final authority over an object. Indexing is a disciplined form of reduction: it turns a complicated work into fields that can be compared across a large corpus. Title, year, edition designation, edition size, medium, publisher, and observed sales are enormously useful fields, but none of them describes the complete life of an individual sheet. The release record establishes a research hypothesis. The object, images, paperwork, and chain of custody either support that hypothesis or complicate it.

This distinction is especially valuable for print collecting because the edition is both a group and a set of individual objects. Two impressions can share a title, date, and numbered edition while having very different visual presence because of paper handling, corner condition, prior framing, light exposure, ink surface, or a missing document. The annual index cannot adjudicate those differences. It can help a collector recognize that they matter, build a list of questions before purchase, and preserve an answer after purchase.

When using comparable sales, record more than the number. Save the sale date, venue, title language, edition notation, whether the object was signed or numbered, the visible condition, and whether a frame or certificate was included. Then ask whether the offered work matches those conditions closely enough to make the comparison informative. A low result may reflect damage or uncertainty; a high result may reflect presentation, provenance, timing, or an unusually motivated buyer. The most honest conclusion is often a range of possibilities rather than a single target price.

The same caution applies to publisher and medium. A publisher credit helps distinguish a release context, and a stated process tells a collector what object-level details to inspect. Neither field is a quality guarantee. A screenprint, letterpress, lithograph, or other process should be described correctly and evaluated according to its material realities. If the listing evidence is incomplete, the appropriate response is to ask for better documentation or to price uncertainty into the decision—not to fill gaps with assumptions.

For records management, keep a single folder for each acquisition. Include the original listing, an invoice, the seller correspondence, full arrival photographs, condition notes, any certificate, and a framing record. Photograph the front, reverse, signature or edition area, and corners before the work is framed or moved. If the work is insured, add the policy record. These small steps make a collection legible to its future self. They also allow a collector to describe an object accurately without relying on memory years later.

Finally, collect with a point of view. An annual release roster can encourage completism, but completeness is not the only coherent strategy. A collection may be organized around political graphics, music-related work, ornamental imagery, a particular print process, a publisher relationship, or simply the works that remain visually compelling over time. The purpose of research is not to eliminate taste. It is to give taste a stronger factual foundation and to make the eventual choice clearer, more defensible, and easier to live with.

Conclusions for 2001

The master-index record for 2001 demonstrates why annual collecting analysis must be both visual and administrative. A Fairey release year can contain a rich range of subjects, production methods, publishers, and levels of market visibility. The index makes that range legible, but it does not erase the differences among individual objects. A collector should use the roster to discover relationships, the comp record to locate questions, and the physical work to make the final judgment.

The practical rule is simple: collect the exact object you can describe, document, and care for—not merely the title that seems most familiar or the number that appears most persuasive. Explore the Shepard Fairey collection, read the buyer’s guide, consult the authentication checklist, and use the price guide as supporting research. The master index is most useful when it encourages better questions and more durable collecting decisions.

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Shepard Fairey Releases in 2001: Master Index Yearbook