Dreams of Peace and Modular Sound and Vision: the 2026 screenprints

One exhibition debut, two later online releases

Dreams of Peace and Modular Sound and Vision first reached buyers at the opening of Shepard Fairey’s Modular Frequency exhibition at Subliminal Projects on February 28, 2026. Each is a signed, numbered edition of 500, priced at $95 on release. They share a 36-inch-high by 24-inch-wide format and screenprinted production on 80# cream Speckletone paper, with Verisart digital certification. The shared specifications make them natural companions, but the subjects and online release dates remain distinct.

The opening announcement offered both screenprints in person. Modular Sound and Vision subsequently went online on March 19 at 10 a.m. PDT; Dreams of Peace followed on April 2 at 10 a.m. PDT. These were additional sale opportunities for the same editions, not evidence of a second numbered run. A catalogue that uses only the web-sale dates would miss the earlier gallery availability.

Bowie: the image and the music

In the Modular Sound and Vision announcement, Fairey connects the title to David Bowie’s song and to the musician’s ability to give equal weight to sound and visual presentation. He also places the work within the exhibition’s investigation of geometric composition, combining images, symbols and text. That framing makes the print more than a musician’s likeness: it belongs to a body of work concerned with how different visual elements can be organised into a coherent rhythm.

For a music-focused collection, the useful distinction is its relationship to a specific exhibition work and to Bowie’s creative example. It is not described as a concert souvenir, tour-date poster or artist-signed band edition. Fairey’s signature is the documented signature. The alternative title styling “Modular Sound & Vision” appears in the print details, but does not identify a separate edition.

King: a different kind of influence

The Dreams of Peace announcement identifies Martin Luther King Jr. as the subject and explicitly links the work to his nonviolent pursuit of civil rights and equality. Fairey describes King as a personal model. Where the Bowie print celebrates an artist’s integrated musical and visual language, this work foregrounds a political method and ethical example. Their common format allows that difference to register without a change in scale or material.

Reading the two together is therefore more useful than ranking them by identical edition counts. They demonstrate how the exhibition’s modular approach accommodates cultural and civic influence. Neither the shared opening nor the matching specifications makes them a numbered set, and the sources do not establish a requirement to buy them together.

What the edition record establishes

Both official archives mark the editions sold out. The quoted prices are historical issue prices. The February announcement gives the opening time as 6 p.m. and labels it PDT despite the winter date; the evening’s local calendar date is clear, but that timezone inconsistency should not be converted into a falsely precise UTC timestamp. The March and April online dates come from the contemporaneous sales announcements. Proof quantities are not established by those sources.

A shared structure without identical imagery

The two exact print images establish a visual relationship through large upper-left portraits and smaller rectangular fields below and alongside them. In Dreams of Peace, King’s gaze points upward beside arrows and a prominent PEACE heading. Modular Sound and Vision gives Bowie a more frontal presence and balances him against a sweeping red flower. The structural rhyme makes the pairing legible before either title is read.

The smaller panels keep the prints from operating as isolated celebrity portraits. Floral symbols, directed arrows and sharply contrasting patterns create several routes through each sheet. In the King work, these elements reinforce movement toward an ethical ideal; in the Bowie work, they turn a musician’s portrait into part of a broader visual rhythm. This is a comparison of the two compositions, not evidence that they were sold as a matching-number set.