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Anni Albers reimagines printmaking as a continuation of Bauhaus weaving, translating structural intelligence into paper through screen, stone, plate, and pressure within the postwar workshop network. Her grids of triangles, meanders, and rotations pursue order without symmetry, testing figure/ground, diagonal, and interval through serial permutation. Across screenprint, lithography, intaglio, and blind embossing—from Triadic and Meanders to Triangulated Intaglios, Second Movement, Mountainous, and Orchestra—she builds modular suites that operate like scores. Privileging material intelligence over signature and revaluing “women’s work,” Albers makes print a democratic field for thinking-by-making, where craft, philosophy, and reproducibility cohere.