A print room is a room in an art gallery or museum where a collection of old master and modern prints, usually together with drawings, watercolours, and photographs, are held and viewed.

A further meaning is a room decorated by pasting prints onto the wall in a quasi-collage style to form a sort of wallpaper, an 18th-century fashion, of which several examples survive. One of the largest, though atypically the prints are cut out round shapes, that are pasted well spaced apart, is at The Vyne, Basingstoke, Hampshire.

For conservation reasons, works on paper cannot be permanently displayed, as light, temperature, and humidity conditions leave them vulnerable to damage, normally limiting an open display to no more than 6 months. They are kept in inert, acid-free boxes, albums, or portfolios behind closed doors; which considerations of space would dictate in any case for the vast majority. Where possible, they are mounted on archivally safe supports, but large collections still contain less important items loose in boxes. Storage may be in the same room as the viewing is done (the 'Reading-' or 'Study Room'), but as the largest collections have well over a million items stores are often located 'behind the scenes', along with the curators' offices. Typically, a large print room appears like a library reading room, and the visitor sits at a desk equipped with a stand or easel, fills in a request slip, and the material requested is brought out for them by curatorial staff, who are able to offer further information about works and artists. Visitors are often able to compare a selection of works by different artists, aiding connoisseurial study.

Most national collections can be seen by the public more easily than is often realised. Usually, visitors of all sorts, whether researchers or not, are entitled to view works on paper not on display in the galleries, which will form the great majority of an institution's collection, thereby making print rooms an essential resource for enabling our understanding and appreciation of works on paper – in particular, how artists conceive of finished paintings through preparatory studies, and how printmaking traditions and techniques have evolved over the centuries. On a national level, print rooms tend to differ, each having their own specialism, though collections often overlap in content.

There are links to lists of print rooms at the end of this article; most lead to the gallery's or museum's web-pages, which explain visiting arrangements. In many cases, appointments need to be made in advance, and proof of identity should usually be provided. While it is helpful to outline what you would like to see (including artists' names and catalogue numbers, which may be available online or in books), visitors are also usually welcome to discuss their needs more casually by phoning or emailing in advance of their appointment. Not all material will be available to view, depending on current loans and exhibitions commitments and the condition of works. Some especially fragile or valuable items may not normally be available for viewing.

Within the print room, setting rules and regulations will vary from institution to institution. Some print rooms may allow visitors to photograph works (without a flash), while others may permit sketching. The V&A's Prints and Drawings Study Room allows photography but Tate Britain's Prints and Drawings Rooms do not, though Tate visitors are allowed to sketch and paint in watercolour with appropriate precautions.

Print Rooms need not be 'passive' spaces – though they are places for study (perhaps suggestive of quiet contemplation), they are also geared towards fostering creative engagement in diverse audiences. Several internationally renowned print rooms lead or contribute to a range of public educational programmes, including talks, tours, and study days for groups. In particular, university print rooms, including those of the Yale University Art Gallery, are regularly set aside for art-historical lectures.

Because of the historical development of museums, and also funding, prints, and drawings are sometimes associated with library collections rather than collections of paintings. For example, in Paris, the main print (but not drawings) collection is in the Bibliotheque Nationale de France, not the Louvre. In New York and Washington, both the main art museums (Metropolitan Museum of Art and National Gallery of Art Washington) and the libraries (New York Public Library and Library of Congress) all have important, though very different, collections. Sometimes, material from non-Western traditions – in particular, Asian material, including Japanese prints – may or may not be held in the same department, or the same institution.