Gauntlet Gallery
What is Shepard Fairey’s piece called “Two Sides Of Capitalism (Bad)”?
Artist Statement
Edition of 89 measuring 30" x 49" $450
Summary
Two Sides Of Capitalism (Bad) is a 2007 Shepard Fairey screen print published by Obey Giant in a first edition of 89, measuring 30 x 49 inches and released July 10, 2007 at $450. As the negative half of a paired diptych concept, it presents the destructive face of capitalism, contrasting with its companion (Good). The large format and small edition make it one of the more ambitious and limited works in Fairey's mid-2000s output, rendered in his dense, propaganda-inspired graphic style.
Why It Matters
Two Sides Of Capitalism (Bad) is among the more significant works in Fairey's mid-2000s catalog because of its scale, its small edition, and its explicit thematic ambition. At 30 x 49 inches it is far larger than the typical 18 x 24 inch screen print, and at an edition of just 89 it is markedly scarcer than the 300-350 runs that dominate this period. Conceived as one half of a paired statement on capitalism, the Bad print delivers Fairey's critique of consumerism and concentrated power directly, while its Good counterpart completes the dialectic. This pairing structure is a hallmark of Fairey's interest in dualities and propaganda framing, and collectors often seek both halves together to realize the full concept. The higher original release price of $450 reflects the work's larger size and greater production complexity. For a Gauntlet Gallery collector, this is a centerpiece-grade piece rather than a supporting work: its scale gives it commanding wall presence, its theme aligns with Fairey's core corporate-critique program, and its limited edition makes it harder to acquire than most contemporaneous prints.
Collector Perspective
This is a statement piece for collectors who want a large, scarce, thematically central Fairey rather than an accessible filler print. The 30 x 49 inch format gives it strong wall presence, and the edition of 89 makes it considerably harder to find than Fairey's common 300-plus runs. Collectors frequently pursue it together with its companion Good print to display the complete two-part concept, so it appeals especially to those building a focused capitalism-critique grouping. Buyers drawn to Fairey's anti-corporate and consumerism themes, and to his larger-format works, will see this as an anchor acquisition that elevates a collection.
Historical Context
Released July 10, 2007, this print belongs to Fairey's Posters and Propaganda era and represents the more ambitious, large-format end of his mid-2000s production. Its paired Good/Bad structure reflects the dialectical, propaganda-inspired thinking that runs through his work, turning a critique of capitalism into a two-part visual argument. The small edition of 89 and the 30 x 49 inch scale set it apart from the numerous modest screen prints Fairey issued in the same window. It arrives roughly a year before the 2008 Obama HOPE poster, capturing Fairey at a point where he was producing both accessible editions and more substantial, conceptually weighted works centered on consumerism and power.
FAQ
Is this print part of a set?
Yes. Two Sides Of Capitalism (Bad) is one half of a paired concept, with a companion Good print released the same day. The two together present opposing faces of capitalism, and collectors often seek both to complete the diptych.
How rare is this print?
It is a first edition of just 89, considerably smaller than Fairey's common 300-350 editions from the period. Combined with its large 30 x 49 inch format, that limited run makes it one of the scarcer mid-2000s works in his catalog.
What are the dimensions and original price?
The print measures 30 x 49 inches and was released on July 10, 2007 at an original price of $450. The larger format and higher price reflect its greater scale and production complexity compared with his standard screen prints.
What is the work about?
As the Bad half of the pair, it presents the destructive side of capitalism, extending Fairey's recurring critique of consumerism and concentrated corporate power. Its companion Good print completes the two-sided argument.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.