Couch (2012) presents a salvaged domestic sofa encased in cement, transforming an object of everyday comfort and familiarity into something irreversibly fixed, weighted, and strange. Rodney McMillian sources his materials from the margins of American domestic life, and here the couch, worn and intimately human in its original context, is rendered monumental and inert by its concrete skin. The tension between the softness implied by upholstered furniture and the brutal permanence of cement produces an object that resists easy categorization, hovering between sculpture, relic, and social document. McMillian's practice consistently interrogates how objects accumulate meaning through their relationship to race, class, labor, and the domestic sphere, and Couch is among his most direct expressions of this inquiry. The living room sofa carries profound cultural weight in Black American life, functioning as a site of gathering, rest, and communal experience. By entombing it, McMillian does not simply memorialize but also implicates, asking what it means when the spaces and objects that sustain communities become hardened, inaccessible, or foreclosed. The work resonates with the concerns of Arte Povera and Conceptual sculpture while remaining anchored in a distinctly American social consciousness. Originally presented in connection with The Studio Museum in Harlem, Couch is signed and arrives with strong institutional provenance that underscores its standing within McMillian's celebrated body of work. At roughly two meters in length, the piece commands significant physical presence, making it equally suited to the scaled ambitions of a serious private collection or a dedicated institutional setting. This is a work that rewards sustained attention, revealing new layers of meaning the longer it occupies a space.