ARCH.ETEK BUILT THE SCREENS BEHIND MURAKAMI X ABLOH

The Instagram post does not say much. "Workshop screens made with @takashipom and @virgilabloh. Looks like we used these screens for the battle field." Posted by @arch.etek, a print studio, alongside archival photos of silk screens bearing imagery from a collaboration that filled a Beverly Hills gallery with 35 works and sold signed prints in editions of 300 through Gagosian. The caption is not a flex. It is a receipt. Someone at arch.etek found the photos in an old drive. A follower named @cherry_coke_zero located them. The screens still exist somewhere, presumably in a back room, holding the negative space of one of the most significant art and fashion collaborations of the decade. The physical tools that made the product. Not the product. The tools. This is how creative infrastructure works. The name on the receipt is never the name on the wall. ## 2007. A Kanye Album Cover Connected Two Worlds. Virgil Abloh and Takashi Murakami first encountered each other because of Kanye West. In 2007, Murakami illustrated the cover for Graduation, and Abloh, then 27 and working as Kanye's creative director, was in the room when it happened. Murakami runs what he describes as a factory: Kaikai Kiki Co., a studio of more than 100 people in Saitama, Japan, where artists, designers, and assistants produce work at commercial scale without apology. Abloh was building the same model in a different language. They knew each other for more than a decade before the collaboration became public. That is not unusual. The most durable creative partnerships are forged in the margins of other people's projects before they become projects of their own. ## November 2017. Long Beach. They Printed It Together. At ComplexCon 2017 in Long Beach, California, Murakami and Abloh appeared together on the floor and screen printed a T-shirt live. The shirt referenced Murakami's Signboard series from 1992 through 2007, a body of work that interrogated commerce and art authorship simultaneously. Abloh had already proved he understood screen printing as a statement rather than a process. In 2012, under the Pyrex Vision brand, he bought deadstock Ralph Lauren flannel shirts for $40 per piece, screen printed "Pyrex" and the number 23, and sold every piece for $550 until the stock ran out. The ComplexCon activation was a preview. By February 2018, they opened Future History at Gagosian London. By June 2018, Technicolor 2 in Paris. By October 2018, AMERICA TOO at Gagosian Beverly Hills: 35 works including large scale paintings, neon sculptures, and screen printed editions that arch.etek's workshop helped produce. [Finally Offline traced Murakami's continued reach in April 2026 through the Kaikai Kiki Bangkok exhibition](/quick/murakami-brings-kaikai-kiki-to-bangkok-the-figures-are-not-what-you-know-mnhvrbo2), where the same characters appeared in an entirely new regional context. ## 35 Works. Gagosian Beverly Hills. October 2018. The AMERICA TOO exhibition ran October 10 through 25, 2018. The show merged Murakami's cartoon flowers, skulls, and Mr. DOB character with Abloh's directional arrows and industrial graphics across paintings, sculpture, and mixed media. DOB and Arrows: Patchwork Skulls (2018), acrylic on canvas, 34 by 23 inches. TIMES: FLAMES (2018), acrylic on canvas, 70 by 70 inches. An Arrows and Flower Neon Sign in aluminum and stainless steel, 108 inches tall. ComplexCon 2018 extended the show outdoors with an inflatable balloon installation on the festival terrace in Long Beach. The collaboration also produced a series of silkscreen prints released through Gagosian: Glance Past the Future, Branded in Time, Momento Mori, Hollow Man, and Kyoto Enso, each in an edition of 300 signed by both artists. Glance Past the Future transforms Gian Lorenzo Bernini's 1623 self portrait by placing Mr. DOB at its center. These are the prints that arch.etek's screens put on paper. [Finally Offline covered Abloh's trajectory from Pyrex Vision to Louis Vuitton in this April 2026 profile](/quick/virgil-abloh-died-41-blueprint-fashion-house-still-following-apr5-h8), documenting how his early commitment to printing as cultural argument set the terms of everything that followed. ## arch.etek Kept the Screens. Most People Kept the Prints. The prints from AMERICA TOO trade on secondary markets at prices above $1,000 depending on title and condition. Hollow Man from the edition of 300 surfaces regularly on eBay. Glance Past the Future resells consistently. The gallery works from the Gagosian show have been absorbed into private collections. arch.etek's screens were not sold. They were found in photos by an account follower. That distinction matters. The screens carry the exact geometry of every mark that transferred from squeegee to paper across 300 signed sheets. They are not art objects and they are not merchandise. They are the factory floor of a collaboration that asked what the boundary between art and fashion was supposed to protect. Virgil Abloh died in November 2021 at 41. Murakami, now 64, continues producing at the Kaikai Kiki factory. arch.etek is still printing. The screens from 2018 sit somewhere between archive and artifact, which is exactly where the most interesting things in culture tend to end up.