IFPDA Fair Fall 2021 Online Edition – October 15 – 30, 2021

Alex Katz – Nicole, 2018

Gregg Shienbaum Fine Art is pleased to announce their participation in the

IFPDA Fair Fall 2021 Online Edition | October 15 – 31, 2021.

The gallery presents a selection of prints by Contemporary artists.

Josef Albers
Jean-Michel Basquiat
Harry Bertoia
Jim Dine
Keith Haring
Damien Hirst
Jasper Johns
Alex Katz
Ellsworth Kelly
Sol LeWitt
Roy Lichtenstein
Robert Motherwell
Claes Oldenburg
Julian Opie
Robert Rauschenberg
Ed Ruscha
Julian Stanczak
Frank Stella
Andy Warhol


Andy Warhol – Brooklyn Bridge, FS 11.290, 1983

Ed Ruscha – Yo, 1991

Sol LeWitt – Flat Top Pyramid With Colors Superimposed, 1988

Ellsworth Kelly – Dark Gray and White, 1977-79

Keith Haring – Pop Shop IV (C), 1989

Ahol Sniffs Glue New Print Release “REDRUM”



is proud to present its second editioned work with Miami Artist



Limited to only 50 pieces.

This new work titled “REDRUM” is in the style of Abstract Expressionism. Highly influenced by this movement, Ahol breaks away from his well known style of  the “classic pattern”. In this screenprint the viewer can see the brush strokes of raw emotion poured into the work.

This print is a very meaningful work to the artist.  It is his first screenprint on paper published with Gregg Shienbaum Fine Art, and it is a work that depicts his feelings about the state of our nation and the world.

Ahol’s Eyeballs represent the eyes of the working class.  Usually seen in his typical pattern, Ahol paints these eyes to let the everyday working class person know that he is with them.  Painted on walls, cars, canvas, and anywhere he can, Ahol throws up a shout out to the regular guy, just going through the daily grind, of just making it to survive.

REDRUM (Murder spelled backwards), depicts the sad state of the killings in our communities, here at home, and around the world.

Innocent victims being shot down for just trying to get by, and live their lives.  Whether it is everyday working people in our streets and communities, law enforcement, people at a night club, or a someone overseas. This new screenprint by Ahol depicts the chaos, the turbulence, the anger, and the sadness of what is going on in our neighborhoods.

Painted in fluorescent red ink, to symbolize the blood spilled, and running through our streets, this expressionistic style allows for more artistic freedom that the Ahol has been wanting to achieve. This style  not only portrays the tension, and whirlwind of emotions that effect the people and the community, but also gives us a sense of the artist’s pure inner feelings.  This new style has more of a free flowing quality, that shows the artist’s emotion, growth, depth, and dimension.


The details of this new edition are below.

  • Ahol Sniffs Glue
  • 2016
  • Fluorescent red ink screenprint on French Construction Blacktop 80# Coverweight card stock
  • 25 x 19 in.
  • Edition of 50
  • Signed and numbered
  • $300 


Ahol Sniffs Glue signing the REDRUM screenprints.

Ahol Sniffs Glue in front of his work REDRUM

third second

Click HERE to see the video of Ahol signing the screenprints.


Newly Installed at Gregg Shienbaum Fine Art


For information and inquiries, contact us at

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Robert Rauschenberg “Collateral” from “Ground Rules”, John Baldessari “Two Unfinished Letters”, Ahol Sniffs Glue “Untitled #16 Overlay”, Damien Hirst’s diptych “Methylamine-13c” and “3-Methylthymidine”


Roy Lichtenstein “American Indian Theme VI”, Alex Katz “Olympic Swimmer”, Andy Warhol “Life Savers”, “Alfred Hitchcock” and “Sidewalk”, Robert Indiana “The Metamorphosis Of Norma Jean”, Tom Wesselmann “Blonde Vivienne”, Damien Hirst “Ala-Met”


Ahol Sniffs Glue’s first diptych “Untitled #13 Layered”, Andy Warhol “Ingrid Bergman, Herself”, Keith Haring “Fertility #1”


Ed Ruscha “Cash For Tools 2”, Robert Rauschenberg “Trust Zone” from “Stoned Moon Series”, Jasper Johns “Device”, Robert Motherwell “Blue Gesture”, Ellsworth Kelly “Black Yellow”, Damien Hirst “Black Brilliant Utopia”, Takashi Murakami “Kiki WIth Moss” and “Reverse Double Helix”, Jean-Michel Basquiat “Leg Of A Dog”, JR “The Wrinkles Of The City Los Angeles”, Coinslot “I Shot Andy Warhol”

Gregg Shienbaum Fine Art will participate at Ink Miami Fair 2015

Gregg Shienbaum Fine Art is proud to announce its participation at Ink Miami Art Fair  2015
The show will be open December 2 to 6
Come visit us at Booth 160

Click here for Miami Ink Art Fair press release


Pictures and news from the Fair will be coming soon!


Admission Hours:

Wednesday 11:00 am to 5:00 pm

Thursday 10:00 am to 5:00 pm

Friday 10:00 am to 7:00 pm

Saturday 10:00 am to 7:00 pm

Sunday 10:00 am t 3:00 pm


For any information or to know what we will be showing at the Fair, please send us an email at or call us at 305 456 5478








Miami Artisti Ahol Sniffs Glue Signing first Gregg Shienbaum Fine Art Edition “Balls To The Walls”

best image

Gregg Shienbaum Fine Art is pleased to present its first edition with Miami Artist Ahol Sniffs Glue.

Limited to only 30 pieces and is laser cut on walnut wood.

The Eye Pattern is cut out all the way through. So what ever the background color of the wall you choose to hang it on is the color the eyes will be. It can also be framed as well.

We did not want to do a regular print on paper, we wanted to do something more unique and more substantial.

The details of this new edition are below as well as photos of the work and of Ahol signing the piece.

  • Ahol Sniffs Glue
  • Balls To The Walls
  • 2015
  • laser cut out on walnut wood
  • 32 x 24 x 1/8 in.
  • Edition of 30
  • Signed and numbered
  • $650

* please note that the grain of the wood varies from piece to piece.


Keith Haring Narrated

Statue of Liberty

Keith Haring
37 1/2 x 28 1/4 in.
Artist’s Proof (A.P.) edition of 25
Pencil signed and numbered



A selection of works from 1982-1990


Opening night on Thrusday, November 12

From 6.00 pm

Keith Haring was and remains an irreplaceable symbol of the freedom that ate metropolitan streets and drank the night air of that wonderfully accursed place, the East Village.  His art work has a marvelous capacity to convey the spiritual anarchy of an artist outside the normal confines.  Haring has become the one most loved artists by the younger generations on every continent.  He has gained an indefinable number of admirers who can be found everywhere, whether among the ranks of the wealthy and middle class, or on the impersonal edges of our cities, where walls and graffiti form the open air salon of the young.  It is sobering to reflect the extent to which an artist, year after year, is able to exert an influence on the culture of vast numbers of people.

Haring was shaped by the street spirit of an overflowing and uncontrollable phenomenon of the eighties, know as “Street Art”.   However, it is important to look at Haring’s whole body of work, and not just his graffiti work.   Keith Haring seems to have been the spokesman for a “political” art with a powerful capacity for communication.  His paintings on canvas, chalk drawings on black paper, and his graphic works were to become a far more subtle means of communication than the sledgehammer methods of graffiti on a grand scale. 

Effortless, but also in the depth of its own signs, brought to the highest degree of formal childishness, Haring’s work shows how synthesis is not just the beginning, but also the endpoint of any progressive evolution.  Beyond the aesthetic style, beats and throbs the morality of the artist, ready to attack the eyes, the heart, and the head of every observer.

The messages are easy to decode, but have behind them, a long path of ethical development that has endowed their contents with great structural force.  Frenzied consumption, global dehumanization of the human race, increasing levels of pollution, sexual prohibitions, prejudice against homosexuals, and social phobias amidst systematic automatisms and robotisms, are just a few of the many messages that Keith Haring’s art works deals with.

The genius of his artwork not only lies in the messages, but also in the brilliant manner in which Haring tackled these risky subjects.  The emergence of animals at the center of new and universal concepts of purity, children who find their way to the hub of the metropolitan scene, symbolic pyramids, cheerful pregnancies, flying angels, amorous couplings, these are just some of the images that Keith Haring’s whole course of development has clung to this double track of themes, that his irony turns into a single, pictorial body where gaiety and softness becomes the radiant surface of a complex body of work.


Opening Night at Art Aspen 2015

Gregg Shienbaum Fine Art is happy to announce a great opening night at Art Aspen 2015
The show will be open August 13th through August 16th
Come visit us at Booth B16

Art Aspen


Gregg Shienbaum Fine Art Booth B16 exhibiting at Art Aspen 2015

Gregg Shienbaum Fine Art Booth B16 exhibiting at Art Aspen 2015


Opening night at Art Aspen 2015

Opening night at Art Aspen 2015



Combrat Boy Signing with Ron English

Signing event of Combrat Boy

Gregg Shienbaum Fine Art’s first published edition work with artist RON ENGLISH

Release Date for Combrat Boy Lenticular is Friday, May 9, 2015 at 10 am EST

Ron English Combrat Video


Ron English with Gregg Shienbaum signing Combrat Boy, the published edition by Gregg Shienbaum Fine Art



Ron English signing number 5 of the 10 Combrat Boy lenticular works


Ron English and Gregg Shienbaum proudly presenting Combrat Boy


Ron English and Gregg Shienbaum with printer Mark Diamond

Ron and Gregg with excited about the release of Combrat Boy

Ron and Gregg with excited about the release of Combrat Boy



An exhibition of works by Andy Warhol from the 1960s to 1980s on view at Gregg Shienbaum Fine Art

MARCH 12 – APRIL 11, 2015



Andy Warhol        $ (Quadrant) FS II.284        1982

Andy Warhol $ (Quadrant) FS II.284 1982

$ (Quadrant) FS II.284


Screenprint on Lenox Museum Board

40 x 32 in.

Edition of 60. Each print is unique.

This piece is signed and numbered in pencil.

About Andy Warhol:

He was one of the most enigmatic figures in American art. His work became the definitive expression of a culture obsessed with images. He was surrounded by a coterie of beautiful bohemians with names like Viva, Candy Darling, and Ultra Violet. He held endless drug- and sex-filled parties, through which he never stopped working. He single-handedly confounded the distinctions between high and low art. His films are pivotal in the formation of contemporary experimental art and pornography. He spent the final years of his life walking around the posh neighborhoods of New York with a plastic bag full of hundred dollar bills, buying jewelry and knick knacks. His name was Andy Warhol, and he changed the nature of art forever.

Andy Warhol was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings.

During this time, Warhol had also been working on a series of pictures separate from the advertisements and illustrations. It was this work that he considered his serious artistic endeavor. Though the paintings retained much of the style of popular advertising, their motivation was just the opposite. The most famous of the paintings of this time are the thirty-two paintings of Campbell soup cans. With these paintings, and other work that reproduced Coca-Cola bottles, Superman comics, and other immediately recognizable popular images, Warhol was mirroring society’s obsessions. Where the main concern of advertising was to slip into the unconscious and unrecognizably evoke a feeling of desire, Warhol’s work was meant to make the viewer actually stop and look at the images that had become invisible in their familiarity. These ideas were similarly being dealt with by artists such as Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg — and came to be known as Pop Art.

Throughout the late 1950s and 1960s, Warhol produced work at an amazing rate. He embraced a mode of production similar to that taken on by the industries he was mimicking, and referred to his studio as “The Factory.” The Factory was not only a production center for Warhol’s paintings, silk-screens, and sculptures, but also a central point for the fast-paced high life of New York in the ’60s. Warhol’s obsession with fame, youth, and personality drew the most wild and interesting people to The Factory throughout the years. Among the regulars were Mick Jagger, Martha Graham, Lou Reed, and Truman Capote. For many, Warhol was a work of art in himself, reflecting back the basic desires of an consumerist American culture. He saw fame as the pinnacle of modern consumerism and reveled in it the way artists a hundred years before reveled in the western landscape. His oft-repeated statement that “every person will be world-famous for fifteen minutes” was an incredible insight into the growing commodification of everyday life.

By the mid-’60s, Warhol had become one of the most famous artists, in the world. He continued, however, to baffle the critics with his aggressively groundbreaking work. His paintings were primarily concerned with getting the viewer to look at something for longer than they otherwise would.

Throughout the ’70s and ’80s, Warhol produced hundreds of portraits, mostly in silk screen. His images of Liza Minnelli, Jimmy Carter, Albert Einstein, Elizabeth Taylor, and Philip Johnson express a more subtle and expressionistic side of his work.

Following routine gall bladder surgery, Andy Warhol died February 22, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick’s Cathedral in New York that was attended by more than 2,000 people.