Monumental in every sense, "Who's Afraid of Red, Yellow, and Blue IV" stands as one of Barnett Newman's most commanding achievements, completed in 1969 during the final years of his career. Measuring an expansive 274 by 603 centimeters, the canvas envelops the viewer in an unrelenting field of saturated color, with Newman's signature vertical "zip" dividing planes of red, yellow, and blue in a confrontation that is at once visceral and deeply philosophical. The title itself, borrowed from Edward Albee's provocative play, functions as a challenge to critics and institutions who dismissed the primacy of pure color as a vehicle for profound human experience. Newman insists otherwise, and the painting makes his case with absolute conviction. The work belongs to a series of four canvases that Newman produced between 1966 and 1969, each one escalating in scale and chromatic intensity. In this final iteration, the primary colors are handled with a directness that refuses decorative comfort, demanding instead a sustained and meditative engagement. The zips do not merely organize the composition; they generate tension between containment and expansion, between the finite boundary of the canvas and the sense that these fields of color extend beyond what any frame could hold. Newman's application of oil achieves a surface that is simultaneously flat and luminous, a quality that rewards close inspection as much as the full-bodied experience of standing before its entire width. For collectors, this is a work of unimpeachable art historical consequence, residing at the intersection of Abstract Expressionism and the Color Field movement Newman helped define. Presented here through Art Resource, the canvas is signed by the artist and offered unframed, allowing the acquiring institution or private collection to make considered decisions about presentation. Works of this magnitude appear on the market with exceptional rarity, and this example represents an opportunity to steward one of the defining statements of postwar American painting.