No Title Required consists of four new paintings by the artist. The largest painting consists of ten panels painted with enamel on cherry, maple, and oak. This work is one of the artist’s largest-scale serial pieces to date. Previous multi-panel paintings include Vector, 1975-97, currently installed at Dia: Beacon, and Back Talk, ca. 1964, which was recently seen in his one-man exhibition at the Dallas Museum of Art. Three paintings, each 89×89”, are oil on canvas on maple panel.

Since 1965 Ryman has organized his work systematically, and regularly paints in series. The four Winsor paintings from 1965-6, thirteen Standard paintings on rolled steel from 1967, eighteen Surface Veils from 1970-2, and sixteen Version paintings from 1991-2 are just a few examples. Ryman has also created large-scale panel paintings including a 1968 exhibition of six paintings composed of nine panels each at Konrad Fischer, Düsseldorf, and VII, a seven-panel installation exhibited at the Stedelijk Museum, Amsterdam in 1975.

Ryman is known for his experimentation and achievement of pictorial complexity through a vigorous investigation of paint and brushwork on a wide range of supports. He once remarked in an interview, “I let the paint develop itself. And then I see how I feel about what is progressing and how the space is working. It is a controlled approach without controlling it…. I simply try and let it happen, let it develop…. the surface is built up slowly and can expand through the space of the structure.”