Shepard Fairey's Retrospective 'Out Of Print' To Show in Los Angeles

Shepard Fairey’s protest posters have transcended popular culture over the past three decades, primarily by challenging authority and consumerism with a bold, graphic style that masterfully merges pop art aesthetics with the compelling visual language of propaganda and Soviet-era constructivism.

Beyond the Streets, the globally recognized art-driven cultural and educational movement centered on graffiti and street art, is set to present a landmark retrospective exhibition, Shepard Fairey: Out of Print, devoted to the artist’s lifelong dialogue with printmaking. Bringing together more than 400 original screen prints alongside new and remixed works that combine screen printing and stenciling, the exhibition surveys Fairey’s enduring commitment to the image, the multiple, and the power of mass communication.

Out of Print tracks Shepard Fairey’s visual journey, showcasing his evolution from guerrilla street interventions to creating globally recognized cultural icons. The exhibition contrasts the raw energy of his early hand-pulled posters and wall placements with the graphic precision of his later studio editions. The presentation highlights the artist’s fluency in the language of advertising and propaganda, recoding those strategies to “arrest visually and provoke intellectually,” and underscores how the reproducible image circulated on walls, in windows, and through wardrobes functions as both civic dialogue and cultural memory.

Fairey tells Deadline: “Film has always been hugely influential for me because it is so immersive and can transport the viewer to another mind-opening world. A lot of my understanding of the power of archetypes and symbols comes from films like Star Wars, Dr. Strangelove, V for Vendetta, or Full Metal Jacket. I named an art show of mine “The Duality of Humanity,” paraphrasing some dialogue from Full Metal Jacket, but inspired by the juxtaposition of a peace sign on the character Joker’s flak jacket. Great dialogue from films like Dazed and Confused or Fargo always reminds me to use text in my art in a witty, provocative, and instantly memorable way.”

He continues: “Of course, John Carpenter’s They Live inspired me to use the word “Obey” in my art. They Live contains graffiti and street art components along with advertising images that symbolize the insidious forces of oppression and reactions against those forces. Film is an incredibly potent and persuasive medium, so I regularly look to images, storytelling, and powerful language from film for inspiration in my art. Television has become very good, so I find inspiring ideas in shows like Black Mirror and The Newsroom.”

“I’m a product of the era of mass production, and the mass culture printing has created. I can’t imagine my art practice without the influence of, and the use of, printing,” says Fairey. “Some of my biggest art influences were not paintings but printed things like posters, album covers, skateboard graphics, punk flyers, and t‑shirt designs. Printing is a cornerstone of my art practice and philosophy. The printing press began the democratization of art, and I have used printed posters to spread my artwork and messages in public spaces as well as keep my art affordable by printing multiples.”

Alongside historic and rare editions, the exhibition debuts a focused group of hybrid works in which layered stencils, paper, and ink collide, expanding Fairey’s print vocabulary while remaining rooted in the immediacy of the street. Archival materials, process ephemera, and contextual graphics round out the presentation, offering a behind‑the‑scenes look at the artist’s methods and influences, posters, album art, skateboard graphics, and punk flyers, among them.

Fairey’s influential career was launched in 1989 with the creation of the simple “André the Giant Has a Posse” sticker, which quickly evolved into the globally recognized Obey Giant art campaign. This movement fundamentally altered the public’s perception of art and the urban landscape, utilizing guerrilla tactics to promote dissent and inquiry.

Spanning nearly 35 years, his acclaimed body of work is marked by high-impact political imagery, including the iconic 2008 “Hope” portrait of Barack Obama, which is now housed in the Smithsonian’s National Portrait Gallery. More recently, in 2017, he collaborated on the powerful “We the People” series, which became a globally recognizable visual cornerstone of the Women’s Marches. Fairey’s continued impact is celebrated in the touring retrospective, Facing the Giant: Three Decades of Dissent, which has traveled to major international and U.S. cities since 2019.

His life and work were further documented in the 2017 feature-length Hulu film, Obey Giant: The Art and Dissent of Shepard Fairey.

The show runs from November 15-January 11, 2026 at Beyond the Streets.