One slight correction — the “dissing” of print was not always or even generally to do with that mythical enemy strawman “Painting” seeing p-m as non-unique (that is an anachronistic argument by way of the Neo-Conceptual dismissal of painting). It was usually due to printmaking’s dependence formally, stylistically and in content on “discoveries” in painting, drawing and sculpture. You hit the answer right on the nose when you mentioned several times that p-m needs to concentrate on its inherent strengths, seeing what it can do that others can’t (the democratic aspect, or at least the metaphor of democracy, has always interested me the most in p-m).