In spite of its remote location and small population, numerous Inuit from Pangnirtung have successfully marketed their prints, carvings, sculptures, and textile arts, such as woven wall hangings, to southern collectors.

The centre's architecture echos the circular shapes of igloos and skin tents from traditional Inuit settlements.

[8] The newer buildings that replaced both the weave and print studios, are interconnected to echo the design of large igloos.

[1][2] When the Uqqurmiut Inuit Artists Association released their 1999 collection of 22 catalogued prints, displays were held in "23 galleries throughout North America".

Elisapee Ishulutaq, who was born at Kanirterjuak, on the east side of Cumberland Sound, Baffin Island in 1925, started her artistic career when she was in her forties.

The stories that are referred to in her artwork originate from her childhood in the 1920s and early 1930s when she lived in small, remote hunting and fishing camps following the traditional semi-nomadic life of the Uqqurmiut Inuit.

[9] By 2015, Jones had made almost 31 annual visits to Pangnirtung and had purchased every one of Andrews's prints—etchings, stone cuts, lithographs, and linocuts.