Louise Bourgeois's Crochet V (1998) closes a set of five prints made with Mixografía in Los Angeles and is the densest image in the group. The series grew from Bourgeois's late-career focus on thread and textiles, a subject rooted in her mother's work restoring tapestries and in her lifelong view of sewing as a way to repair and remember.

Rather than open loops, the red cord here is packed tight. A rounded, teardrop-shaped mass of coiled rows narrows at the bottom into a plaited braid, finished with a small tassel — at once a skein of yarn and a braid of hair. Mixografía builds the image from a three-dimensional metal plate, often incorporating real objects, and presses it into handmade paper pulp under high pressure, so the surface is physically shaped into the sheet and reads like wound, knotted cord.

"The needle is used to repair the damage," Bourgeois said. "It's a claim to forgiveness." Crochet V distills that belief into a single bold emblem — strands twisted together so they hold. Strong in color and rich in surface, it is a commanding late work on paper by one of the century's defining artists, and Mixografía can issue a certificate of authenticity on request.