Shepard Fairey OBEY – Two Americas 2016 Serigraph
★ Edition of Only 100 — One of Fairey's Most Tightly Limited Prints ·
Large-format 30×40 on archival varnished cotton rag with hand-deckled edges. Signed and numbered in an edition of just 100 — fewer copies exist than nearly any other Fairey print release.
What You Are Getting
This is Shepard Fairey's Two Americas — an original 2016 hand-pulled 4-color serigraph, hand-signed and numbered by Fairey, in an edition of only 100 pieces. On a print market where Fairey's standard editions run 350–550, an edition of 100 is exceptionally rare. This is among the most tightly limited fine art prints of his career — and it addresses one of the defining issues of our era: the widening divide between the wealthy and the struggling in American life.
The composition deploys Fairey's signature high-contrast stencil aesthetic — four colors on varnished 100% cotton rag archival paper with hand-deckled edges — at a commanding large-format scale of 30 × 40 inches. The imagery centers on figures rendered in Fairey's characteristic warm cream, red, and black palette, set against a layered background of collaged newspaper text that serves as both texture and context: the documented record of American inequality pressed into the surface of the image itself. The result is a work with the formal weight and emotional gravity of classic social realist printmaking, reframed through Fairey's street art vocabulary.
Two Americas was released in 2016 — a year of acute political fracture in the United States, when the gap between economically thriving and economically struggling Americans had become impossible to ignore in public discourse. Fairey had been engaging themes of inequality, corporate power, and political propaganda since his earliest OBEY work in the late 1980s, but Two Americas addresses the theme with rare directness and compositional scale. At 30 × 40 inches on archival paper with hand-deckled edges, this is a work designed to hold a wall — and a conversation.
Why Edition/100 Matters — Context for Collectors
The overwhelming majority of Fairey's screen print releases from 2010 onward carry edition sizes of 350–550. An edition of 100 is the exception, not the rule — reserved for works of particular significance or larger-format production runs where the labor-intensive nature of hand-pulling each print limits total output. Two Americas at edition 100 means roughly 93% fewer copies exist than a standard Fairey release. Scarcity at this level, combined with large format and archival production quality, places this print in a distinct tier of the Fairey secondary market.
Print Details
| Artist |
Shepard Fairey (OBEY) |
| Title |
Two Americas |
| Year |
2016 |
| Medium |
Hand-pulled 4-color serigraph on varnished 100% cotton rag archival paper with hand-deckled edges |
| Colors |
4-color — warm cream/blush, red, warm gold/amber, black; collaged newspaper texture integrated into background |
| Paper |
Varnished 100% cotton rag archival paper — hand-deckled edges on all sides |
| Size |
30 × 40 inches — large format |
| Edition Number |
[Verify edition number from physical print — pencil notation, lower left] |
| Edition Size |
100 — one of Fairey's most tightly limited edition sizes |
| Signature |
Hand-signed and numbered by Shepard Fairey in pencil |
| Subject |
Multi-figure composition depicting the American class divide — figures rendered in layered stencil style against collaged newspaper background |
| Publisher |
Obey Giant / Studio Number One |
| Era |
2016 — release year marked by significant political and economic inequality discourse in the United States |
| Condition |
Please note condition specifics from physical inspection before listing — confirm deckled edges are intact on all sides and note any handling marks, creases, or surface wear |
Two Americas — Understanding the Work
The "two Americas" framework has deep roots in American political thought — from John Edwards's 2004 campaign rhetoric to the sociological literature on income polarization — but Fairey's print engages it visually rather than rhetorically. Where a political speech draws the line between two worlds in words, Fairey draws it in composition: figures from different economic realities sharing the same image plane, rendered with the same graphic authority, confronting the viewer together. The deckled edges and archival cotton rag paper root this street art graphic language in the tradition of fine art printmaking — a deliberate tension that Fairey has always exploited.
The collaged newspaper background is a consistent Fairey device: the news itself — the documented record of poverty rates, wage stagnation, housing crises, and political capture — pressed into the surface of the image as physical substrate. The medium and the message are once again the same thing. By 2016, this was not abstract theory. The data was real, the visual evidence was everywhere, and Fairey made a print that could hold it.
Visual Elements — Confirmed from Photographs
What appears in the composition:
Figures: Multiple figures — adults and children — rendered in 4-color high-contrast stencil style; warm cream, red, gold/amber, and black ·
Background: Layered collaged newspaper text providing dense typographic texture throughout; visible in both figures and negative space ·
Color palette: Warm cream/blush tones, bold red (background fields and stencil fill), warm amber/gold (mid-tones), heavy black (shadow and outline) ·
Red fields: Large red areas dominate the left and upper register — characteristic of Fairey's political print work ·
Figures in foreground: Close-cropped figures rendered with characteristic emotional gravity — contemplative, forward-looking, direct ·
Lower text: Partial text visible at bottom edge — confirm exact wording from physical inspection ·
Paper edges: Hand-deckled on all four sides — visible in physical inspection; archival varnished cotton rag surface
About Shepard Fairey (OBEY)
Born 1970 in Charleston, South Carolina, Shepard Fairey launched the Andre the Giant Has a Posse wheat-paste campaign in 1989 while attending the Rhode Island School of Design. The OBEY Giant campaign that followed became one of the most sustained and globally visible street art projects in history — appearing on walls, in galleries, and in museum collections across every major city in the world. His 2008 Obama HOPE poster entered the Smithsonian Institution and the National Portrait Gallery and became one of the most reproduced political images of the 21st century.
Fairey's work is held in the permanent collections of MoMA New York, LACMA, the Smithsonian, the National Portrait Gallery, the Museum of Contemporary Art San Diego, the Virginia Museum of Fine Arts, and the Victoria and Albert Museum in London. His print editions sell out within hours of release, and his secondary market prices have appreciated consistently over three decades. A hand-signed, numbered edition of 100 from 2016 — at large format on archival cotton rag — represents a significant example of his mid-career political fine art practice.
What Is Included
- Original Shepard Fairey Two Americas hand-pulled 4-color serigraph, 2016
- Hand-signed and numbered in pencil by Shepard Fairey
- Edition of 100 — one of Fairey's most tightly limited editions
- 30 × 40 inches on varnished 100% cotton rag archival paper with hand-deckled edges — unframed, stored flat
- Gauntlet Gallery digital provenance documentation
Shipping & Handling
Professional packing. Full insurance. UPS delivery.
Shipped via UPS in an oversized rigid flat-pack mailer purpose-built for large-format prints — acid-free tissue interleaving, foam-core backing boards, and foam corner protection throughout. Full insurance included. Tracking provided on all orders.
Domestic (USA): UPS Ground or UPS 2-Day — typically 3–7 business days.
International: UPS International — message us for a quote before purchasing. International buyers are responsible for local duties and VAT.
A large-format archival print on deckled cotton rag receives extra care on the packing table. The deckled edges are protected specifically — no rolling, no tube shipping. Zero damage record.
More Shepard Fairey at Gauntlet Gallery
We carry authenticated Shepard Fairey prints across all eras — from early-2000s limited editions through the Damaged Stencil Series, letterpress works, music tributes, and large-format environmental and political prints. We also stock Banksy, Death NYC, and signed music collectibles. Fairey editions of 100 are exceptionally rare — add us to your Saved Sellers to be notified when new inventory is listed.
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Originally an art gallery in San Francisco, Gauntlet Gauntlet was built at the intersection of street culture, historic moments, and disciplined collecting. Rooted in the ethos of underground art movements — skate, punk, protest graphics, and independent publishing — we curate pieces that carry both cultural weight and market structure. This time bringing these items to the world after our technical in reinvention.
Our focus spans limited edition fine art, street art pioneers, music and space memorabilia, and historically significant signed works. Every item is selected for scarcity, authenticity, and long-term relevance — not short-term hype.
From museum-collected artists and politically iconic prints to astronaut autographs and era-defining music signatures, Global Gauntlet exists to preserve cultural milestones and help collectors acquire them with confidence.
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Every artist has a story. Every fan has a memory.
This isn't just a guitar — it's a bridge between the artist's world and yours. Each piece in this collection has been subtly customized to reflect the unique aesthetic of the artist it represents — from tonal choices and finish details to design elements that echo their signature style and creative identity.
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SHEPARD FAIREY
Few contemporary artists have bridged underground culture and institutional recognition as effectively as Shepard Fairey. Emerging from skate and punk subcultures with the original Obey Giant campaign, he built a visual language rooted in propaganda aesthetics, bold iconography, and political commentary.
What makes Fairey compelling for collectors isn’t just name recognition — it’s durability. His work sits at the intersection of activism, design, and pop culture. \
From the globally recognized Hope poster to decades of tightly controlled screenprint editions, he has demonstrated both cultural relevance and disciplined market structure.
Institutional validation from MoMA, the Smithsonian, and the V&A reinforces long-term credibility. Meanwhile, secondary market data shows consistent liquidity and steady appreciation across core prints.
For collectors, this is cultural equity with infrastructure behind it — not trend-driven volatility.
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