Looking at Untitled (1971), Louise Nevelson’s interest in the monochromatic is evident. Yet, as the three sections reveal, the work appears to be made of many gray tones rather than only one. Looking even closer, the scratches and uneven globs change our perception of what appeared to be a smooth surface. Nevelson reminds us that one can always uncover more when looking even at that which previously appeared to be obvious. When looking closer, one can see that this is not canvas at all but lead intaglio plates, objects used in the printmaking process to engrave, adhered to a rag board.