Anyone interested in contemporary painting is aware of Gerhard Richter and the figurative-abstract duality of his work. Less well-known, but no less visually revolutionary, are the prints and objects he has produced over the last 35 years in editions of anything from a handful to a few hundred, giving those who cannot compete in the stratospheric levels of the art market a chance to acquire work by one of the most remarkable artists of the century.

Richter has now made more than 90 "editions" or "multiples" in a variety of media including photography, offset lithography, screen printing, oil paint on canvas, stainless steel and mirrors. Examples of all of them will be on view at the Anthony d'Offay Gallery from 9 September - 4 November 1999. This is the first time that the complete set has been gathered together in an exhibition.

The first work Gerhard Richter did in this category is Hund of 1965. In an edition of only eight, it is a screen print based on a black and white photograph of a German Shepherd Dog from the family album. In the print the ink has been wiped sideways with a broad brush which makes the image seem to be part-painting, part-mirage and imbues it with the disturbing, edgy sense of danger, of the fleetingness of existence, of darkness beyond the light, characteristic of so much of Richter's work.

This edginess is compounded by the viewer's sudden consciousness of the mechanics of his own vision. You can see the same thing more sophisticatedly presented again much later in Betty, 1991, an offset print edition of 25, where the artist has manipulated a version of his painting of 1988, in turn based on a photograph taken ten years before. A young girl, we cannot see her face, is looking away from us into the semi-darkness of one of Richter's abract grey paintings. The contrast between tangibility and intangibility suggested by the image is shocking and tragic.

Richter's long fascination with printing and with photography as ready-made viewing, as potential for manipulation and above all as a means for visual exploration can often be seen more clearly in his multiples than in his paintings. For example, we can watch him take a figurative image, turn it through 180 degrees or combine it with abstract paint marks. But the multiples also run in tandem with the paintings, thus this exhibition also offers a review of the artist's entire career.