In 1964, Jasper Johns created a five-panel painting (see below) that includes real objects protruding and bending up from its surface. Johns’ use of actual items reflects his lifelong interest in the work of Marcel Duchamp, who exhibited everyday objects, including a urinal, as “readymade” sculptures. Five years after Johns completed the painting, he made the present drawing, concentrating on the hanger and spoon, two of the painting’s smallest elements. In the painting, Johns created three separate depictions of a single object: a traced hanger, a real hanger protruding from the surface, and its cast shadow. In the drawing, however, he included only two: a tracing and a rendering of the same object. Both are illusions, but the tracing is a more accurate reflection of the hanger’s actual shape. On the other hand, the bent version, with its shading and illusionistic three-dimensionality, reveals more of the artist’s hand in its rendering. In the drawing, Johns isolates two objects, presenting them in multiple ways in order to draw attention to those possible variations. Johns returned to the same imagery in 1971, when he created a series of lithographs focused on various aspects of the painting, including the hanger and spoon. As for the mysterious title, Johns said: “I made it up....,I think the note appearing in my sketchbook goes like ‘somewhere there is the question of seeing clearly, seeing what, according to what.’”