Robert Ryman's *Sign* exemplifies his lifelong dedication to the exploration of white paint and the physical conditions of painting itself. Executed in oil paint and Enamelac on stretched cotton, the work is mounted directly to the wall using two aluminum brackets and four six-sided bolts, making the mechanics of display an integral part of the composition. This deliberate exposure of its own support system invites the viewer to consider the relationship between the painting, its surface, and the architectural space it inhabits.