While best known for her sculptures, Louise Nevelson was also a prolific printmaker. Working across a wide range of printing processes, from lithography and etching to photographic silkscreens, Nevelson used printmaking to explore combinations of two-dimensional forms and motifs. From 1970 to 1973 the artist collaborated with Sergei and Fausta Tosi of the Tosi Workshop in Milan on six editions of highly experimental lead intaglio reliefs. To create these works, Nevelson arranged rectangular carved wooden elements into vertical compositions reminiscent of her sculptures and bonded them to a wooden backing. Then a thin sheet of lead was applied over the wooden matrixes, embossing the carved lines of the originals into the soft surface of the metal. The resulting reliefs were adhered to a thick sheet of rag paper, adding another layer of dimensionality to the prints.