Akureyri Art Museum, an institution long associated with contemporary printmaking and interdisciplinary practice in northern Iceland, has issued an open call for a Non-Toxic Electro-Etching Workshop and Residency to be held on Gran Canaria, Spain, during the autumn and winter of 2026. The programme situates itself within a growing international movement to reconsider the chemical and environmental footprint of intaglio processes, proposing electro-etching as a viable, safer alternative for artists working in metal plate. That the museum is convening this work outside its home institution—on a Canary Islands site—suggests a deliberate interest in dislocation, climate, and the material conditions of making. The residency combines instruction in non-toxic electro-etching with dedicated studio time, positioning participants at the intersection of technical apprenticeship and independent production. While the call does not enumerate specific stipends, housing, or exhibition outcomes, the framing as both workshop and residency implies structured mentorship alongside the expectation of self-directed work. Artists should anticipate a cohort model in which process is shared and critiqued, rather than a solitary retreat. The curatorial vision appears to privilege ecological responsibility as a generative constraint rather than a limitation—asking what printmaking becomes when its toxic inheritance is refused. Practitioners whose work engages materiality, sustainability, or the expanded field of print will find the premise legible. Those seeking conventional etching facilities or purely conceptual, dematerialised practices may find the emphasis on electro-etching technique less aligned.