Changes from state I, by burnishing and grinding: hammered indentations made more shallow; surface marks and scratches lightened overall. Changes from state I, in drypoint: letters widened by second row of hammered indentations. Additions by puncture: holes through sheet added in many indentations, throughout several letters.
State III of this composition was published as a benefit for Documenta IX, 1992.
Bourgeois created this plate by hammering a nail through thin roofing copper.
The artist employed a similar technique in the print compositions “Tornado,” 1991-1992, and “We Love You,” 1992, seen in Related Works in the Catalogue below.
"I want much more than thank you... I want forgiveness... I ask for mercy. Who is at fault? Who is the culprit? Is it you, or is it me? I would rather make it my trouble... then I could take care of it... I could become active instead of passive." (Quote cited in Wye, Deborah and Carol Smith. “The Prints of Louise Bourgeois.” New York: The Museum of Modern Art, 1994, p. 209.)
Former Cat. No.:
W & S 123
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
This Work in Other Collections:
National Museum of Women in the Arts, Washington, DC
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