Over the course of the twentieth century, leaving an [often unrecognized] legacy today, Caribbean, Latino, Afro and Latin American artists have played critical roles in key international printmaking workshops; within collaborative groups centering on graphical practices such as posters, artists’ books, and zines; as originators of multiples utilized in ephemeral circuits of expression (such as mail, fax and Xerox art); and, moving into the twenty-first century, as creators of artist’s groups or generators of web-centered practices in which the open-ended format can be seen to be derived from the workshop model. This history is not one on its own, but rather intertwined within the larger histories of art.