This is Shepard Fairey’s Factory Stacks (Endless Power) — a 2022 screen print on thick cream Speckletone paper, hand-signed and numbered from an edition of 350, with a portion of proceeds at release going directly to Greenpeace USA. The print was released May 19, 2022, as part of a matching numbered diptych alongside Factory Stacks (Earth First) — two prints that together frame the central tension of Fairey’s climate argument: the world we are building vs. the world we still could choose. Sold out immediately at release.

The composition is a dense collage of Fairey’s recurring visual iconography, layered with text fragments that reward close reading. A vinyl record (upper left), OBEY peace dove in a sky-blue circle, a “Ministry of Truth / 101” badge (referencing Orwell’s 1984), newspaper clippings reading “DO NOT [FEED] FASCIS[M]” and “REBEL,” a torch-bearing winged angel, an open book reading “THE FUTURE / HISTORY / IS UN-WRITTEN” (the Joe Strummer quote), “ENDLESS POWER / INDUSTRY CAPTAINS” and “CORPORATE VOUCHER / RECESSION SALE” text bands, a flame with hands, an OBEY Eiffel Tower seal badge, lotus flower, and a floral damask pattern with bold red and gold chevrons. The visual density is deliberate: this is what “endless power” actually looks like — a system of interlocking icons, slogans, and symbols that collectively obscure cause and effect.

The Orwell reference is the sharpest moment in the composition. Room 101 is where your worst fears are held in 1984 — the Ministry of Truth’s final tool of compliance. Pairing that badge with “DO NOT FEED FASCISM” and “REBEL” in the same frame, Fairey names the stakes plainly while maintaining the layered, multi-referential visual language he’s used since the 1990s. The Joe Strummer quote at the bottom — “The Future Is Unwritten” — functions as both warning and invitation.

Fairey released these two prints simultaneously as companion pieces asking the same question from opposite sides. Earth First presents the case for prioritizing the planet — its imagery leans toward nature, renewal, and resistance. Endless Power names the opposing force: the political and economic system that subsidizes fossil fuels at the expense of climate action. The “endless power” of the title is sarcastic — it refers to the power of fossil fuel corporations, not to any renewable energy source. Together, the two prints constitute a single argument. When purchased as a matched numbered set, both prints carry the same edition number — a feature that makes matched pairs more desirable to collectors than individually numbered copies.

Born 1970 in Charleston, South Carolina, Shepard Fairey studied at the Rhode Island School of Design and launched the Andre the Giant Has a Posse campaign in 1989 — one of the first viral street art movements. His 2008 Obama HOPE poster became one of the most reproduced political images of the 21st century. His work is held in the permanent collections of the Smithsonian Institution, MoMA New York, LACMA, the National Portrait Gallery, and the Victoria and Albert Museum in London. Fairey’s climate-themed prints represent one of the most consistent threads in his post-2010 practice — using the visual language of propaganda to argue for environmental accountability.

• Original Shepard Fairey Factory Stacks (Endless Power) screen print, 2022
• Hand-signed by Shepard Fairey in pencil (lower right — confirmed)
• Hand-numbered from edition of 350 in pencil — verify exact number (lower left) before listing
• Full multi-color screen print on thick cream Speckletone — unframed, stored flat
• Gauntlet Gallery digital provenance documentation

This is Shepard Fairey’s The Medium Is The Message — an original 2001 screen print, hand-signed and dated by Fairey, and numbered #159/200 in pencil. Editions of 200 from Fairey’s early 2000s period are among the most tightly limited fine art prints of his career, produced years before his 2008 global breakthrough with the Obama HOPE poster. What was available for modest prices at release is now rare collectible material — this print dates from the period when Fairey was already a major figure in underground street art, but his work had not yet reached mass-market awareness.

The composition centers on a close-cropped male portrait rendered in Fairey’s signature high-contrast stencil style — three colors: blush cream, warm gold, and black. The figure wears a military beret bearing the OBEY Giant star emblem on its front. A star pendant hangs at his neckline. In the upper left, a bold red rectangle carries the words “THE MEDIUM IS THE MESSAGE” in white block lettering. The “OBEY” wordmark appears in the lower composition, printed in the same warm gold. The total effect is of a Cold War-era propaganda poster updated and reframed through the lens of Fairey’s ongoing interrogation of image, authority, and mass persuasion.

The title is borrowed directly from Marshall McLuhan — the media theorist whose 1964 insight that the vehicle of communication shapes perception as much as its content has become a cornerstone of modern media criticism. In Fairey’s hands, the phrase is both sincere theory and self-aware irony: this poster is the medium; its bold graphic language is doing exactly what McLuhan described. Fairey has used this phrase throughout his career, but this 2001 print represents one of its earliest and most direct deployments as a standalone work.

Marshall McLuhan’s phrase — from his 1964 book Understanding Media: The Extensions of Man — argues that the form in which content is delivered changes how it is perceived and what it means, independent of the content itself. Television doesn’t just show you things; the act of watching television shapes how you see the world. The poster doesn’t just communicate — the poster itself, its scale, its placement, its visual vocabulary, is an argument. Fairey seized on this idea early in his career as a theoretical underpinning for everything the OBEY campaign was doing.

Fairey was wheat-pasting posters in cities around the world using the same visual language as propaganda — heroic portraiture, bold type, limited color, strong composition — but applying it to a fictional, absurdist subject (a giant professional wrestler). The point was to make people aware that they were responding to the format of propaganda even when the content was meaningless. The medium was the message. This print literalizes that thesis: a military figure, an authority figure, a figure you would instinctively respect or fear, rendered in the grammar of a Cold War poster — and the label “THE MEDIUM IS THE MESSAGE” placed directly in the frame, like a note from the artist that says: I know what I’m doing, and now you know too.

Born 1970 in Charleston, South Carolina, Shepard Fairey launched the Andre the Giant Has a Posse wheat-paste campaign in 1989 while studying at the Rhode Island School of Design. By 2001, he had been running the OBEY Giant campaign for twelve years — his imagery was already on walls in dozens of countries, his prints sold through galleries in Los Angeles, New York, and London, and his influence on graphic design, skateboarding culture, and political street art was well established. His 2001 print editions, at 200 pieces per release, reflect the tighter production model of that era.

The 2008 Obama HOPE poster changed Fairey’s public profile entirely. His work entered the Smithsonian Institution, MoMA New York, LACMA, the National Portrait Gallery, and the Victoria and Albert Museum in London. Demand for his pre-2008 work surged with that recognition. A signed and dated 2001 print at edition 200 now occupies a distinct collector category: early-era, tight edition, authenticated signature with date — a document of the artist’s practice in the period before his global fame.

• Original Shepard Fairey The Medium Is The Message screen print, 2001
• Hand-signed and dated “01” in pencil by Shepard Fairey (lower right — confirmed from photograph)
• Hand-numbered #159/200 in pencil (lower left — confirmed from photograph)
• 3-color screen print on cream Speckletone — unframed, stored flat
• Gauntlet Gallery digital provenance documentation