Silkscreen printed in one color with a mix of Golden and Speedball inks, a fine, fresh impression of the only state, the full sheet, printed on smooth white 335 gsm Coventry Rag paper, hand-signed, dated, titled and numbered in pencil on the reverse, executed in an edition of 48 (there were also 4 numbered and annotated Artist's Proofs, IV numbered and annotated HC proofs, 2 numbered and annotated Printer's Proofs, 1 annotated proof for the archives of the Cabinet d'arts graphiques, Geneva, 1 annotated BAT proof and 1 dedicated proof), printed by Brad Ewing at The Grenfell Press, New York with assistance of Marco Lawrence of the Lower East Side Printshop, New York, published by World House Editions, Middlebury, Connecticut.
Tallman, Susan. "Dot Dot Dot," article in Art in Print, Volume 6, Number 6, March-April 2017, pp.26-27.
John Armleder has been using the dot motif since the late 1970s and they can be found in the artist’s paintings, drawings, prints and even multiple objects. Clearly paying homage to such avant-garde artists as Francis Picabia, Alexander Rodchenko, Larry Poons and even Tom Downing, John Armleder, through his notion of appropriation, has raised the simple, optical concept and arrangement of dots from a pure mode of abstract pictorial composition to a systematic concept of representation and perhaps even structural analysis.