A 1950 canvas by Newman called The Wild, and probably one of the strangest looking paintings you've ever seen. Clearly, it's a very, very tall, extraordinarily narrow painting. And now looking at the edge of the painting, you'll realize very quickly that the painting is as deep as it is wide. In other words, Newman has not used stretcher bars at all and rather he stretched his canvas over solid piece of wood, very long narrow, I don't know, two by two or something like that. Now, in doing so, Newman has hybridized this painting if you will, into something that is no longer totally a painting but is, I will argue, as much a sculpture as it is a painting. A very, very important painting for Newman and really Newman a very, very important artist for that subsequent generation of Minimalist painters and sculptors who were really thinking about their paintings as objects. The object like quality of the painting. Now for Newman, that was kind of done secondarily, because Newman actually is using this entire painting as the zip itself. Now let's get back to the paint for a moment. There is a zip in this painting. There is a figure and a ground and interestingly there's a second application of that red paint. More on that in a moment. But now opening up our aperture, a little bit. We can actually read the entire painting itself, zip and ground together, as one zip on the ground of the wall if you will. What we're doing by the way now, is reading painting environmentally if you will. Thinking about how the painting itself reacts to the wall, the ground, the fact that Taniguchi, the architect of this building, has left this kind of recess, this dark shadow at the bottom of the floor. And take my word for it. Up by the ceiling there's something similar. What we're doing now is making all these kind of visual relationships that we're thinking about here, figure, ground, matte, gloss, push and pull, all these issues. Now we can start to think of, in terms of the way the painting reacts to the wall and the space around it. It's no coincidence that this was a very, very important idea for those Minimalist artists who were thinking about the situation of their painting, of their sculpture. Or in fact, installation art which to a large extent is about exactly how the material of a work relates to its own situation, its own space of exhibition. Now, getting back to the paint here, we'll see that this figure is a very narrow red zip along this dark bluish gray ground, and this was done by using two pieces of masking tape, one on either side of that zip. Running them down, painting red with a brush and then pulling off both of those pieces of tape, which reveals this red stripe or zip, right down the center of that painting. Okay. Now interestingly, Newman has gone and refined that with a second red paint application on top of both the ground and that previous red zip. Why and how? Well, we can see again that this was done with a palette knife. Very very flat buttery texture. These very characteristic lips at the edge of the paint that we saw just previously in Onement, I. And we can also realize that this second paint application was done with a lot more gloss. In other words, adding a lot more medium into that paint or perhaps even varnish. What's interesting about that, is that when we look at a painting in raking light, in other words, this very low angle, allowing light to scrape off the painting, if you will, from the ceiling, we can see a so called vacation, or a gap in that second paint application. Where we see the underlying zip of the same color, the same value, the same chroma, but now, a very matte paint, a paint that doesn't have nearly as much binder added to it, certainly no varnish added at all. So that Newman is playing with these two applications of red paint. In other words, allowing the second application to visually integrate the relationship between that matte underlying red band and the ground around it.