Gauntlet Gallery
What is Shepard Fairey’s piece called “Enough Noise & Lies”?
Artist Statement
Get a signed Enough Noise & Lies print from Shepard Fairey's studio to display in your home, through a window, or behind you in your next Zoom meeting. The screen print on heavy cream Speckletone paper is 17 x 24 inches, signed and unframed, at an edition of 200. This campaign is your first, and possibly only, chance to get this work. Plus, your name will be listed on our campaign website.
Summary
Enough Noise & Lies is a 2020 Shepard Fairey screen print produced as a Kickstarter campaign release. Printed on heavy cream Speckletone paper, it measures 17 x 24 inches, is signed, and was issued in an edition of 200. The work continues Fairey's recurring 'Noise & Lies' motif, a visual call against political deception and manufactured outrage. Marketed by his studio as a piece to display at home or behind a webcam during the early pandemic's remote-meeting era, the print pairs Fairey's signature stenciled, propaganda-poster graphic language with a pointed textual message about cutting through misinformation.
Why It Matters
This print sits at the intersection of Fairey's long-running critique of media manipulation and the specific anxieties of the 2020 election year. The 'Noise & Lies' theme is one Fairey has returned to repeatedly, framing modern political discourse as a flood of distraction and dishonesty that citizens must learn to filter. Releasing it through Kickstarter rather than a standard studio drop is itself notable: it positioned the work as a participatory campaign in which backers were publicly listed, blurring the line between art collecting and civic engagement. With an edition of just 200, it is among the tighter runs in Fairey's 2020 output, and the studio explicitly framed it as a possibly one-time opportunity. For collectors, that combination of small edition, a recognizable Fairey slogan, and a pandemic-era release context gives the piece both thematic and chronological significance. It captures a moment when Fairey's propaganda-poster vocabulary was aimed squarely at the information environment of an election year, making it a representative example of how he uses graphic design as a tool for political persuasion and media literacy.
Collector Perspective
This print appeals to collectors who follow Fairey's political and propaganda-themed work rather than his music or purely decorative pieces. The compact 17 x 24 inch format and bold graphic treatment make it well suited for a home office or studio wall, and the studio's own framing around Zoom-era display speaks to a collector buying something topical and conversational. The edition of 200 is modest, which adds appeal for those who prioritize tighter runs. It fits naturally into a politically themed Fairey grouping alongside his other slogan-driven and election-year prints, and the Kickstarter origin gives it a documented provenance story that engaged collectors tend to value.
Historical Context
Enough Noise & Lies belongs to Fairey's prolific 2020 period, when much of his studio output responded directly to the U.S. election cycle and the information climate surrounding it. The 'Noise & Lies' motif had appeared in his work in prior years, and this 2020 Kickstarter edition extends that thread into the pandemic era, when remote communication reshaped how art was viewed and displayed. The piece reflects Fairey's enduring practice, rooted in his late-1980s OBEY street campaign, of using accessible printed editions and recognizable slogans to deliver political commentary. Its release as a crowd-funded campaign also illustrates how Fairey continued experimenting with distribution models that fold collectors into the activist message itself.
FAQ
How large is the Enough Noise & Lies print?
The screen print measures 17 x 24 inches. It is printed on heavy cream Speckletone paper and was issued unframed by Fairey's studio, sized for home display or as a backdrop during video calls.
How many were made?
It was released in a signed edition of 200, making it one of the smaller runs among Fairey's 2020 studio prints. The studio described the campaign as a first and possibly only chance to acquire the work.
How was this print sold?
It was published through a Kickstarter campaign rather than a standard studio drop. Backers' names were listed on the campaign website, folding the act of collecting into a participatory release.
Is the print signed?
Yes. According to the source description, each print is signed and was issued unframed at a $250 price point during the 2020 campaign.
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.