In "Reading" (2020), Kyle Dunn constructs a sculptural painting that pushes acrylic pigment into dialogue with epoxy resin and foam panel, producing a work of considerable physical presence at over 162 centimeters tall. The layered substrate lends the surface a luminous, almost translucent depth, with color appearing to emanate from within rather than simply rest on top. Dunn's process foregrounds the material logic of painting itself, inviting the eye to move across a plane that is simultaneously flat and unmistakably three-dimensional, measuring over six centimeters in relief. Dunn, who works at the intersection of painting and object-making, has cultivated a rigorous practice around the expressive and structural possibilities of non-traditional supports. "Reading" exemplifies that commitment, its title suggesting both interpretation and perception, prompting the viewer to consider how we decode surfaces and what we expect from the painted object. The work belongs to a body of practice that has attracted sustained institutional and critical attention, positioning Dunn among a generation of artists expanding the definition of what a painting can be and how it can occupy space. Presented by P.P.O.W, a gallery with a long-standing reputation for championing materially ambitious and conceptually rigorous work, "Reading" arrives on the market signed by the artist and without a frame, a deliberate condition that underscores its identity as a self-sufficient object. For collectors drawn to painting that interrogates its own foundations, this work offers both aesthetic immediacy and genuine conceptual substance.