For decades, print artists affiliated with the University of Alberta have used photographic techniques in their work, engaging with the possibilities these methods enable in conversation with global artistic dialogues. The first gallery of the exhibit includes works by distinguished participants in this history, such as Walter Jule and Karen Dugas, alongside works by photogravure experts David Morrish, Marlene MacCallum, Jon Goodman, Steven Dixon, and Zhané Warren. Works by Dixon, Warren, Alex R.M. Thompson, and Luke Johnson represent the platemaking team that has worked with Jillian Ross since 2020.

The second gallery features works by William Kentridge made in 2020 and 2021 using photogravure and direct gravure enabled by Ross's collaboration with this team. Original drawings, working proofs, colour tests, and other exhibit materials visually unpack the process of making a photogravure print from image to plate to final edition.

During the platemaking process of Eight Vessels in 2020, Jillian Ross and Steven Dixon discussed the prospect of creating a truly large-scale photogravure, based on a drawing which William Kentridge completed in his studio, and which forms an integral component of his film series Self-Portrait as a Coffee-Pot. Test plates were made starting in 2020, and by 2022 Ross and Dixon were ready to begin production on the ambitious print. Titled The Old Gods Have Retired, the twenty-seven copper plates used to print the image, weighing over 200kg, were shipped from Edmonton to Johannesburg, where Ross travelled in August of 2022 to work with Kentridge and the printing team at David Krut Workshop to finalize the edition. In addition to the large-scale Old Gods, Ross and Dixon worked on a group of smaller prints that summer which are also on view in the third room of the gallery: the direct gravure prints Beckmann's Self-Portrait with Jam Jar and Scissors, Tree (17), and Tree (64), and the photogravure The Mirror Will Not Help. Also displayed in this space are the works of Puleng Mongale, a South African digital collage artist based in Durban, and Cinthia Sifa Mulanga, a Congolese-born artist based in Johannesburg, best known for her figurative paintings. Their works in photogravure and direct gravure were co-published by Jillian Ross Print and Latitudes Online between 2021 and 2022.

In the fourth gallery space are works by Ross's large network of collaborators. From South Africa these include Zhané Warren, Bevan de Wet, and the printing team at David Krut Workshop, including master printers Sbongiseni Khulu, Roxy Kaczmarek, and Kim-Lee Loggenberg-Tim, as well as Sarah Judge and Jesse Shepstone. From Canada, in addition to the platemaking team, Ross has worked with ambar azcorra, Rowan Pantel, and Saba Tensae in the creation of works on view.

From April through August of 2024, the Remai Modern in Saskatoon partnered with Jillian Ross Print on an exhibit which brought Ross’s studio into the museum. During those five months, a rotation of printers assisted Ross with the editioning of several works by William Kentridge and Wally Dion in the museum space on full view to the public. Luke Johnson and Alex R.M. Thompson joined from Alberta, along with Sarah Madgin from Vancouver and Marketa Holtebrinck from Toronto. The Saskatoon-based team included Monique Martin, Kelsey Pavier, Hannah Penney-Duke, Marcel Houston-McIntosh, and Nasibeh Nasibi. Houston-McIntosh and Penney-Duke have continued to work with Ross on the editioning of these ambitious projects, among other new and ongoing collaborations.

The second floor of the gallery features photogravure works by William Kentridge made in 2023 and 2024. The platemaking at the University of Alberta began early in 2023 with the works Procession I and II, alongside the four Studio Self Portraits. The major focus of that summer, however, was the creation of numerous plates related to Kentridge's opera The Great Yes, The Great No. Set aboard the 1941 voyage of the Capitaine Paul-Lemerle from Marseilles to Martinique, with a passenger list of artists, intellectuals, and revolutionaries fleeing Vichy France, the opera proceeds to blend fact with fiction as Kentridge adds to this historical list a host of figures from across time and space. The two prints on view, the large-scale How to Explain Who I Was and smaller My Father is a Tree in a Forrest of Fathers II, stand in for a whole series of works utilizing photogravure and photopolymer intaglio to explore imagery related to the opera's setting and themes. Also on view in this space are the four works in Wally Dion's prairie braids print series from 2023, which feature variations defined by colour and the presence or absence of an embossed target over the photogravure image.

In the last room of the exhibit is a salon of works using photo-intaglio methods by University of Alberta faculty, staff, students and alumni. The majority of works on view were created utilizing photogravure, with plates made in direct collaboration between the artists and Steven Dixon, Luke Johnson, and Marlene MacCallum. Several prints in this room represent works freshly printed in 2025, just prior to the exhibit, showing the ongoing interest and involvement with photogravure among print artists in Edmonton. 

A complimentary display of prints selected by Luke Johnson from the collection of the University of Alberta Museums, by alumni and past visiting artists of the University of Alberta utilizing photo-intaglio methods, was on view in the UofA Print Study Centre during the opening weekend symposium. Works on view included prints by Warrington Colescott, Jennifer Dickson, Kyla Fischer, Doris Freadrich, Carl Heywood, Ryoji Ikeda, Davida Kidd, Bea Maddock, Tadayoshi Nakabayashi, Krystyna Piotrowska, Anna Szul, Akiko Taniguchi, Tracy Templeton, and Stephen Williams.