After acquiring a seventy-five-ton hydraulic press capable of accommodating sheets as large as forty by sixty inches, Dieu Donné Papermill asked Wynn Kramarsky to invite six artists in his collection to make works using this new piece of equipment. The participating artists collaborated with the Mill’s artistic staff to design custom papers for their drawings and, in several cases, to create drawings during the papermaking process. Alice Aycock composed two dynamic and expansive studies on richly pigmented cotton paper. Sara Sosnowy also used the press to explore a new drawing surface—cotton paper imbedded with horizontal rows of string. She then filled the interstices between these rows with gold circles in gouache. Mel Bochner made an edition that included a watermark with the repeated phrase “Language is not transparent,” which emerges, with varying degrees of legibility, through an abaca layer laminated to a black cotton base sheet. David Jeffrey produced two unique works, one of which employed the press to meld a field of iron filings to wet cotton. Elena del Rivero conceived of abaca paper watermarked with a circular treatment of her name for a series of performance-based works based on four symbolic sites—the table, bed, studio, and street. And Steven Steinman used the papermaking process to achieve dramatically pigmented and textured works of linen and cotton fibers. Works produced by the new press, which had come to be known, affectionately, as “The Crusher,” filled the galleries at Dieu Donné and the Fifth Floor Foundation during concurrent exhibitions.