Louise Bourgeois's Crochet II (1998) belongs to a group of five prints made with the Mixografía workshop in Los Angeles, part of a late-career turn toward thread and textile imagery. The subject had deep roots: Bourgeois grew up surrounded by her mother's tapestry restoration work, and she often spoke of sewing as a way to mend what had been broken.

Here the red cord forms a wheel. From a small knot at the center, fine strands radiate outward like spokes to a squared frame of looped segments; short arms extend from the top, bottom, and sides, each ending in a small ring. It recalls a compass rose or a spider's web pinned flat. Mixografía begins with a three-dimensional metal plate and presses it into handmade paper pulp under high pressure, so each strand rises in real relief — it catches light like stitched cord rather than a printed line.

The radiating form looks ahead to the spiders Bourgeois was building in the same years, culminating in Maman (1999), her monumental tribute to her mother. "Like a spider, my mother was a weaver," she explained. Crochet II carries that idea at an intimate scale, with a clear, balanced structure. Mixografía can issue a certificate of authenticity on request.