Introduction by Bill Goldston.

Interviews with Lillian Hellman, Agnes de Mille, Margaret Mead, Eleanor Holmes Norton, Ruth Bader Ginsburg, Gloria Steinem, Billie Jean King, Bella Abzug, Diana Vreeland, Julia Child, Sylvia Porter, Alberta Hunter, Elisabeth Kubler-Ross, Barbara Walters, and Betty Friedan, among others.

A series of twenty-one original triangular lithographs (with narrative captions) which may be displayed in a helical scroll of linked tetrahedra. They were executed during the years 1975 and 1976 under the guiding light of Tatyana Grosman (to whom Fuller had been introduced by Edwin Schlossberg) at her ULAE print workshop in West Islip, Long Island. In something of a publishing innovation this trade book was brought out concurrently with a limited edition of the signed original lithographs. Michael Denneny was the editorial impresario at St. Martin's and Ronald Feldman Fine Arts handled the exhibition of the lithographs. Fuller composed the Tetrascroll between the publication of Synergetics in 1975 and Synergetics 2 in 1979. He had been frustrated by the rigid structure of the synergetics books which, despite certain advantages, he felt robbed the work of spontaneity and narrative force. To compensate for this Fuller worked feverishly on the Tetrascroll as a free-form obbligato to the synergetics books. He explained to me at the time, "The empirical, the scientific way to present the argument of synergetics is the way I am doing it in Goldilocks. Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller

The years from 1960 to 1990 witnessed an extraordinary outburst of creative activity among American printmakers. A number of important new workshops were founded, from such influential studios as Universal Limited Art Editions as Long Island and the Tamarind Lithography Workshop in Los Angeles to small presses throughout the country. In contrast to traditional European ateliers, where professional printers reproduced artists' designs for commercial edition printing, the new American workshops stressed collaboration, and emphasized radical experimentation with medium and process. The work produced in these studios often owed as much to the imaginative gifts of the printer as the conception of the artist.

This timely reexamination of the experimental New York print studio Atelier 17 focuses on the women whose work defied gender norms through novel aesthetic forms and techniques.