Women artists account for just 7 percent of the $2.18 billion in combined editions sales recorded between 2022 and 2026, according to an analysis of the Artnet Price Database. The shortfall is driven by volume rather than value. In that period, 286,970 editioned works by male artists came to auction, compared with 24,144 by women, a disparity that shapes every headline total. On price alone, the gap all but disappears. The median auction price for prints and multiples by women artists was about $2,016 including buyer's premium, just above the $1,937 median for men. Women's lots also sold at a higher rate, 78.8 percent against 75.2 percent, and more often cleared their high estimates, 43.1 percent versus 41.1 percent. The market is there for women artists who reach auction; getting there remains the obstacle. That picture contrasts with the broader painting market. A 2021 study by Renée Adams, Roman Kräussl, Marco Navone and Patrick Verwijmeren, based on 1.9 million auction transactions across 49 countries, found paintings by female artists sold for 42.1 percent less on average than paintings by male artists. In prints, the data suggests a more complicated story. Yayoi Kusama leads women printmakers by total auction sales value, followed by established names including Helen Frankenthaler, Käthe Kollwitz, Bridget Riley, Vija Celmins and Barbara Kruger. Julie Mehretu, Kara Walker and Tracey Emin generated about $6.7 million in prints and multiples sales between 2022 and 2026. Of the 15 top performers, only three were born before 1900 and none before 1867, while more than half are American, a legacy linked to the postwar print renaissance after Tatyana Grosman founded Universal Limited Art Editions in 1957. The primary market tells a similar story. Publishers including BORCH Editions, Gemini G.E.L. and Two Palms have sold new editions by Mehretu, Elizabeth Peyton, Cecily Brown and Dana Schutz at prices above $100,000, often ahead of male contemporaries, though private sales stay largely out of public view. Institutional attention has grown in parallel, from the Philadelphia Museum of Art's 2025 focus on Mehretu to Mickalene Thomas's site-specific installation at the 2025 IFPDA Print Fair, where Laura Owens, Joan Hall and Louise Bourgeois also took prominent positions.