• lithograph printed in moderate greenish blue, dark greyish red, light yellowish pink, dark grey reddish brown, brilliant bluish green, pale yellow and black, 1986
• edition of 25 on Arches, signed and numbered: 1-25 and 5 artist's proofs on Arches, signed and numbered: AP1-AP5 and an unspecified number of proofs including 5 signed trial proofs on Arches, 1 signed color trial proof and 1 signed B.A.T.
• plate size 20⅜" x 27¾" (51.5 x 70.5 cm.)
• printed by Maurice Sanchez assisted by Donna Shulman and Jamie Miller at Derriere L'Etoile, New York
• Literature:  Dorothea Tanning: Hail, Delirium!, New York Public Library, 1992, catalog no.58, pp.77, 104

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Experiment with textures here revealed some ways of passing from something to nothing or vice versa, an ever thorny problem in the lithography medium.
      -Dorothea Tanning, Hail, Delirium!, 1992, catalog raisonne


I clearly must be a signature piece, in which Tanning signals the continuing wakefulness and alchemical power of her inner eye - the eye which has the power to transform sight into insight, the power to transform whatever it touches into a purely sensuous material that seems the very substance of primary process - and appropriately absolutizes it into a thing in itself, that is, indicates that it is as numinous as her surface.
      -Donald Kuspit, The Amorphousness of Being Other: Dorothea Tanning's Prints, Hail Delirium, catalog raisonne