In this paper I will examine the notion of the aura in relation to contemporary printmaking practice. I will argue that Walter Benjamin’s conception of the aura –rather than being in opposition to methods of mechanical reproduction – is in fact enfolded within the central discourse of the printmaking discipline. The structure of print-based image making implicates a suite of opposing tensions that are the core of the auratic experience, including the dualities of now/then, here/not here and multiple/individual. The printed image, for example, indicates both the touch and the loss of the matrix, and mediates a spatio-temporal distance between the artists’ hand and the work. Print works also expose the instability of the idea of authenticity, highlighting that it is never raised without its shadow – inauthenticity. Through reexamining Benjamin’s work in relation to printmaking, I will suggest that the question of whether the aura has – or indeed should have – withered no longer has utility in the reproductive arts. Instead it is more productive to examine the ways in which contemporary print practice implicates and enfolds the questions of auratic trace, origin and authenticity.